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Sarva-tathāgata-tattva-saṃgraha

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Sarva-tathāgata-tattva-saṃgraha ; An extensive work in five parts.


Composed during the late decades of the 7th century ce, it forms the root text of yoga-tantra.


Though it had some popularity in early Tibetan Buddhism, it was more important in Sino-Japanese forms of tantric Buddhism where attention was focused upon its first section, the Mahā-maṇḍala, which circulated separately under the title of the Vajra-śekhara Sūtra.


SARVA TATHAGATA TATTVA SAMGRAHA


COMPENDIUM OF ALL THE TATHAGATAS A STUDY OF ITS ORIGIN, STRUCTURE AND TEACHINGS


SARVA TATHAGATA TATTVA SAMGRAHA


THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY


AT THE SCHOOL OF ORIENTAL AND AFRICAN STUDIES UNIVERSITY OF LONDON - 2002



COMPENDIUM OF ALL THE TATHAGATAS A STUDY OF ITS ORIGIN, STRUCTURE AND TEACHINGS DO-KYU0N KWON



Abstract


This thesis constitutes a study of the Sarva-tathagata-tattva-samgraha, the principal Buddhist tantra of the Yoga Tantra class. The thesis is based on the original sources in Sanskrit, Tibetan, Chinese, Japanese and Korean. The text of this tantra is preserved in the original Sanskrit, and in Tibetan and Chinese translations. As for the commentaries, the thesis makes use of two commentaries written by the Indian masters Anandagarbha and Sakyamitra, which are preserved only in their Tibetan versions. In addition, the thesis incorporates the information culled from the relevant works in Chinese by Amoghavajra and Donjaku, and several Japanese and Korean works as indicated in the bibliography. The Sarva-tathagata-tattva-samgraha is divided into five parts and twenty six chapters. In conformity with this tantra's structure, the thesis is also divided in the same way.


The thesis starts with a general introduction, and then proceeds step by step to provide a textual study of the doctrinal, ritual, and other dimensions of the entire tantra. In conformity with its structure, first there are provided expositions of each part as a whole, and then there follow detailed studies of individual chapters contained in each part. In the case of individual chapters, first there is explained their overall structure, then, whenever appropriate, there are given translated excerpts from the tantra, followed by an integrated interpretation of their doctrinal and other aspects in the light of the commentaries. Since all chapters of this thesis have similar structures, the overall presentation is somewhat repetitive. However, this style reflects the structure of the tantra and its logical progression, and also the style of its commentaries.


In terms of its teachings, the Sarvatathdgata-tattva-samgraha provides the foundational exposition of the doctrines and practices of the Yoga Tantra. This tantra class focuses predominately on meditation, visualisation of deities, and on ritual activities performed in connection with mandalas. This tantra contains a seminal treatment of the Yoga Tantra theories, but all such theories are not divulged in an open and plain language, but are encoded in esoteric terminology, and cast in visionary, meditational, and ritualised ways. The overall discourse is built around a logically devised group of mandalas in connection with which the tantra explains the meditational and ritual process leading to Buddhahood. According to this tantra, Sakyamuni Buddha attained Buddhahood in the Akanistha abode, proclaimed the Yoga Tantra on the summit of Mount Sumeru, and then returned to earth and reenacted the state of enlightenment under the bodhi tree in Bodhgaya. His enlightenment in the Akanistha and his proclamation of die Yoga Tantra on Sumeru are recast in this tantra and revealed as a body of the Yoga Tantra teachings.


Contents

Abstract 2

Contents 3 -


List of Abbreviations 5


Bibliography 7


Introduction 13


1. Meaning of the title Sarvatathagatatattvasamgraha 13
2. Textual Classification of the Sarvatathagatatattvasamgraha 14
3. Sanskrit Version, Translations and Commentaries 17
4, Dates of the Texts 18
5. Origin of the Sarvatathagatatattvasamgraha 27
6. General Structure of the Sarvatathagatatattvasamgraha 32
7. Mandala derived from the Sarvatathagatatattvasamgraha 37


PART ONE


Mahayana Realisation of All the Tathagatas

Chapter 1. Vajradhatu Mahamandala 41
Chapter 2. Vajraguhya Vajramandala 96
Chapter 3. Vajrajnana Dharmamandala 107
Chapter 4. Vajrakarya Karmamandala 116
Chapter 5. Epilogue of Part One 124

A. Vajrasiddhi Caturmudramandala 124

B. Mahayanabhisamayamandala 131


PART TWO


Vajra-Pledge of All the Tathagatas

Chapter 6. Trilokavijaya Mahamandala 139
Chapter 7. Krodhaguhya Mudramandala 159
Chapter 8. Vajrakula Dharmajnanasamayamandala 168
Chapter 9. Vajrakula Karmamandala 175
Chapter 10. Epilogue of the Trilokavijaya 181


A. Trilokavijaya Caturmudramandala 181

B. Vajrahumkara Mandala 185

Chapter 11. Trilokacakra Mahamandala 189
Chapter 12. Sarvavajrakula Vajramandala 198
Chapter 13. Sarvavajrakula Dharmasamayamandala 201
Chapter 14-a. Sarvavajrakula Karmamandala 205
Chapter 14-b. Epilogue of the Trilokacakra 210


PART THREE


Dharma-Pledge of All the Tathagatas


Chapter 15. Sakalajagadvinaya Mahamandala 213
Chapter 16. Padmaguhya Mudramandala 225
Chapter 17. (Padmakula) Jnanamandala 232
Chapter 18-a. (Padmakula) Karmamandala 237
Chapter 18-b. Epilogue of Part Three 242


A. Padmakula Caturmudramandala 242

B. Sarvajagadvinaya Mandala 244


PART FOUR

Karma-Pledge of

All the Tathagatas


Chapter 19. Sarvarthasiddhi Mahamandala 249
Chapter 20. Ratnaguhya Mudramandala 257
Chapter 21. (Manikula) Jnanamandala 264
Chapter 22-a. (Manikula) Karmamandala 269
Chapter 22-b. Epilogue of Part Four 272

A. Manikula Caturmudramandala 272

B. Sarvarthasiddhi Mandala 274


PART FIVE


Tantra, Uttaratantra and Anuttaratantra of the Mahayana Sutra

Called the Compendium of Truth of All Hie Tathagatas


Chapter 23. Upayasiddhitantra 279
Chapter 24, Guhyatantra 288
Chapter 25. Guhyottaratantra 294
Chapter 26-a. Anuttaratantra 299
Chapter 26-b. Epilogue 305

Appendix I 307


Abbreviations

BHS

Cl. or Chinese 1

C2. or Chinese 2

DoC

Kosalalamkara

MW

OEAVS

Recitation-sutra

S. or [[Sanskrit]

STTS

T. or Tibetan Tattvaloka

Buddhist Hybrid Sanskrit Grammar and Dictionary, Franklin Edgerton, 1953, (rp. Kyoto, 1985).

Jin-gang-ding-i-qie-ru-lai-zhen-shi-she-da-cheng-xian-zhengda- jiao-wang-jing, Chinese translation of the STTS (chapter 1) by Amoghavajra, (TSD. Vol. 18, No. 865, pp. 207-223-2-21). Fo-shuo-i-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-sanmei- da-jiao-wang-jing, complete Chinese translation of the STTS by Danapala, (TSD. Vol. 18, No. 882, pp. 341-445-2- 10).

A Dictionary o f Chinese Buddhist Terms, compiled by William Edward Soothill and Lewis Hodons, 1934, (rp. Taipei, 1975). Kosalalamkara-tattva-samgraha-tikd, originally written in Sanskrit by Sakyamitra, Tibetan translation by Dharmasribhadra and Rin-chen-bzang-po, (TTP. No. 3326, Vol. 70, pp. 190-305 & Vol. 71, pp. 2-94-2-6).

Sanskrit-English Dictionary, Sir Monier Monier-Williams, 1899, (rp. Oxford, 1988).

Outline o f Eighteen Assemblies o f the Vajrasekhara Sutra (Chinese Jin-gang-ding-jing-yu-qie-shi-ba-hui-zhi-gui), Chinese translation by Amoghavajra, (TSD. Vol. 18, No. 869, pp. 284- 3-9-287-3-14).

Recitation-sutra abridged from the Vajrasekhara-yoga (Chinese Jin-gang-ding-yu-qie-zhong-liie-chu-nian-song-jing), (TSD. Vol. 18, No. 866, pp. 223-2-22-253-3-10). Yamada Isshi's edition o f the STTS.

Sarva-Tathagata-Tattva-Samgraha Ndma Mahayana-Sutra. Tibetan translation o f the STTS, by Sraddhalcaravarman and Rin-chen-bzang-po, (TTP. Vol. 4, No. 112, pp. 218-283).

Sarva-tathagata-tattvasamgraha-mahaydndbhisamaya-ndmatantra-vydkhya-tattvalokakan-nama, originally written in Sanskrit by Anandagarbha, Tibetan translation by Thugs-rje-


chen-po and Thags-pa-shes-rab, (TTP. No. 3333, Vol. 71, pp.

134-301 & Vol. 72, pp. 2-152).

Tibetan Tripitaka Peking Edition, (D.T. Suzuki).

Taisho Shinshu Daizolzyd Edition o f the Chinese Buddhist Canon, (J. Takakusu & K. Watanabe).


Bibliography


Sanskrit Sources


Chandra, Lokesh: Sarva-Tathagata-Tattva-Samgraha, Sanskrit Devanagari edition with introduction and illustrations of mandalas, Delhi, 1987. Snellgrove, David L. and Chandra, Lokesh: Sarva-Tathagata-Tattva-Sangraha, facsimile reproduction of a tenth century Sanskrit manuscript from Nepal, Sata-Pitaka series, Vol. 269, Delhi, 1981. This contains the introduction written by David Snellgrove.

Yamada Isshi (ed.): Sarva-Tathagata-Tattva-Samgraha Ndma Mahayana-Sutra, a critical edition based on a Sanskrit manuscript and Chinese and Tibetan translations, Sata-Pitaka series, Vol. 262, New Delhi, 1981. Tibetan Sources

Anandagarbha: Sarva-tathdgata-tattva-samgraha-mahdydndbhisamaya-namatantra-vydkhyd-tattvalokakan-nama, the Sanskrit original is missing, Tibetan translation by Thugs-ije-chen-po and Thags-pa-shes-rab, (TTP. No. 3333, Vol. 71, pp. 134-301 & Vol. 72, pp. 2-152).

Buddhaguhya: Tantra Dashavatara, the Sanskrit original is missing, Tibetan translation by ’Jam-dpal-go-cha, (TTP. Vol. 70, No. 3324, pp. 34-73-4-7).

Sakyamitra: Kosalalamkara-tattva-samgraha-tlka, the Sanskrit original is missing, Tibetan translation by Dharmasribhadra and Rin-chen-bzang-po, (TTP. No.

3326, Vol. 70, pp. 190-305 & Vol. 71, pp. 2-94-2-6).

Sraddhakaravarman and Rin-chen-bzang-po (trs.): De-bzhin-gshegs-pa thams-cad- J<yi de-kho-na-nyid bsdus-pa zhes-bya-ba theg-pa chen-po ’i mdo, Tibetan translation of the STTS, (TTP. Vol. 4, No. 112, pp. 218-283).


Chinese Sources


Amoghavajra (Chinese Bu-kong) (trs.): Dou-bu-tuo-luo-ni-mu, this text contains some information of the STTS, (TSD, Vol. 18, No. 903, pp. 898-3-1-900- 1-19).


(trs.): Jin-gang-ding-yi-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-dajiao-

wang-jing, Chinese translation of the STTS (chapter 1), (TSD. Vol. 18, No. 865, pp. 207-223-2-21).

(trs.): Jin-gang-ding-jing-yu-qie-shi-ba-hui-zhi-gui, this text provides the outline of the structure of the STTS, (TSD. Vol. 18, No. 869, pp. 284-3- 9-287-3-14).

(trs.): Jin-gang-ding-yu-qie-hu-mo-yi-gui, this text focuses on the homa rites relevant to the STTS, (TSD. Vol. 18, No. 908, pp. 916-920-2-16; No. 909, pp. 920-2-17-924-3-9).

— (trs.): Jin-gang-ding-yu-qie-liie-shu-san-shi-qi-zun-xin-yao, this text contains the same joyful utterances (udanas) of the thirty-seven deities of the Vajradhatu-mandala as the STTS, (TSD. Vol. 18, No. 871, pp. 291-3- 18-297-3-7).

(trs.): Jin-gang-ding-yu-qie-san-shi-qi-zun-chu-sheng-yi, this text provides brief explanation about the origin of the thirty-seven deities of the Vajradhatu-mandala, (TSD. Vol. 18, No. 872, pp. 297-3-8-299-1-22).


(trs.): Liie-shu-jin-gang-ding-yu-qie-fen-bie-sheng-wei-xiu-zheng-fa-men,

this text provides some information about the thirty-seven deities of the Vajradhatu-mandala, (TSD. Vol. 18, No. 870, pp. 288-2-1-291-3-17).

Danapala (Chinese Shi-hu) (trs.): Fo-shuo-yi-qie-ru-lai-zhen-shi-she-da-chengxian- zheng-san-mei-da-jiao-wang-jing, complete Chinese translation of the STTS, (TSD. Vol. 18, No. 882, pp. 341-445-2-10).

Donjaku (Chinese Tan-ji): Jin-gang-ding-da-jiao-wang-jing-si-ji, (TSD. Vol. 61, No. 2225, pp. 117-371-1-28).

Ennin (Chinese Yuan-ren): Jin-gang-ding-da-jiao-wang-jing-shu, (TSD. Vol. 61, No. 2223, pp. 7-2-23-114-2-6).

Kulcai (Chinese Kong-hai): Jin-gang-ding-jing-kai-ti, (TSD. Vol. 61, No. 2221, pp. 1-5-2-26).

Jiao-wang-jing-kai-ti. (TSD. Vol. 61, No. 2222, pp. 5-3-1-7-2-22).

Vajrabodhi (Chinese Jin-gang-zhi) (trs.): Jin-gang-ding-yu-qie-zhong-liie-chunian- song-jing, this text shows the earliest stage of the STTS, (TSD. Vol.

18, No. 866, pp. 223-2-22-253-3-10).


Other Chinese Sources


Da-le-jin-gang-bu-kong-zhen-shi-san-mei-ye-jing, this text was translated by Amoghavajra, and is also called Li-qu-jing (Japanese Ri-shu-kyo) in Japanese Shingon tradition, (TSD. Vol. 8, No. 243).

Dai-zong-chao-zeng-si-kong-da-ban-zheng-guang-zhi-san-zang-he-shang-biaozhi- ji, (TSD. Vol. 52, No. 2120) & Zhen-yuan-xin-ding-shi-jiao-mu-lu, (TSD. Vol. 55, No. 2157), these two texts contain the historical records and documents of Amoghavajra.

Jin-gang-ding-jing-da-yu-qie-mi-mi-xin-di-fa-men-yi-jue, this text contains some information about the origin of the STTS, (TSD. Vol. 39, No. 1798).


Japanese Sources


Matsunaga Yukei: Mikl<yd no Reldshi (Study of Tantrism) Kyoto, Heiralcuji shoten, 1969.

Sawa Ryuken (ed.): Miklcyo Jiten (Dictionary of Tantrism), Kyoto, Japan, 1975. Toganoo Shdun: Kongochokyo no Kenkyu (Study of the STTS), Toganoo Shun Zenshu, Extra Vol. Ill, Rinsen shoten, KySto, 1985.

— : Mandara no kenkyu (Study of Mandala), Koyasan Daigaku, 1927.

Tsuda Shiniclii (trs.): Kongdchdgyo, Japanese translation of the Sanskrit STTS (chapter 1), Tokyo, Japan, 1995.


Korean Sources


Heo 11-Bum and Kim Young-Deok (trs.): Dae-il-gyung (Mahavairocana sutra) and Keum-gang-jung-gyung (Amoghavajra's version of STTS), etc., translated into modem Korean from the Goryeo Tripitaka written in classical Chinese, Dopg-guk University Press, Seoul, Korea, 1994,


Mandala Sources


bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II, Kodansha Ltd., Kyoto, Japan, 1983.

Chandra, Lokesh: A Ninth Century Scroll o f the Vajradhatu Mandala, Sata-Pitaka series, Vol. 343, New Delhi, 1986, (rp. 1997). This book contains the whole Gobushinkan and its counterpart of the Nine Assemblies Mandala, both of which are reproduced from the Chinese Buddhist Canon.

Jin-gang-jie-jiu-hui-da-man-tu-luo (Great Mandala of the Nine Assemblies of the Vajradhatu), TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 887-1004.


Li-duo-seng-nie-luo-wu-bu-xin-guan (Meditation on the Five Families of the Rasamgraha), TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 73-148.

This is called Gobushinkan (Chinese Wu-bu-xin-guari) in Japan. The World of Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council of Religious Affairs of His Holiness the Dalai Lama, Gyosei Ltd., Tokyo, Japan, 1982.


Secondary Sources


Astley-Kristensen, Ian: The Riskukyo, Buddhica Britannica series III, The Institute of Buddhist Studies, Tring, U.K., 1991.

Bharati, Agehananda: The Tantric Tradition, London, 1965, (rp. London, 1992). Bhattacharyya, Benoytosh: An Introduction to Buddhist Esoterism, Motilal Banarsidass, 1931.


Bu-ston: History o f Buddhism, translated by E. Obermiller, Part I, (The Jewellery of Scripture), Heidelberg, 1931, Part II, (The History of Buddhism in India and Tibet), Heidelberg, 1932.

Cabezon, Jose Ignacio & Jackson, Roger R, (ed.): Tibetan Literature; Studies in Genre, Snow Lion Publication, USA, 1996. Chandra, Lokesh: Tibetan-Sanskrit Dictionary, New Delhi, 1959, (rp. Kyoto, 1982).

Chattopadhyaya, Alaka: Atisa and Tibet, Indian Studies, Past & Present, 1967, (rp. Delhi, 1996).

Chou Yi-liang: “Tantrism in China”, Harvard Journal of Asiatic Studies, Vol. 8, March 1945, pp. 241-332.

Das, Chandra S.: A Tibetan-English Dictionary with Sanskrit Synonyms, Calcutta, 1902, (rp. Kyoto, 1985).

Dasgupta, Shashi Bhushan: An Introduction to Tantric Buddhism, Shambhala, Berkeley & London, 1974.

Dayal, Har: The Bodhisattva Doctrine in Buddhist Sanslcrit Literature, Delhi, 1932, (ip. Delhi, 1978).

Dowman, Keith (trs. and com.): Masters of-Mahamudra; Songs and Histories o f the Eighty-Four Buddhist Siddhas, State University of New York Press, 1985.

Eliade, Mircea (ed.): The Encyclopaedia o f Religion, 16 vols., New York and London, 1987.

Yoga] Immortality and Freedom, translated from the French by Willard R.

Trask, 1958, New York, (rp. Princeton University Press, 1990).

Hirakawa Akira: “Buddhist Literature] Survey o f Texts”, The Encyclopaedia of Religion (ed. Mircea Eliade), Vol. 2, pp. 504-529.

A Buddhist Chinese-Sanskrit Dictionary, The Reiyukai, Tokyo, 1997. Jaschke, LI. A. : A Tibetan-English Dictionary, 1881, (rp. London, 1968). Kitagawa, Joseph M. and Cummings, Mark D. (ed.): Buddhism and Asian History, New York, 1989.


Lessing, F. D. and Wayman, Alex (trs.): Introduction to the Buddhist Tantric Systems, The Hague, 1968, (rp. Delhi, 1993).

Lopez Jr., Donald S. (ed.): Religions o f India in Practice, Princeton University Press, 1995.

Nakamura Hajime: Indian Buddhism, Japan, 1980, (rp. Delhi, 1987). Orzech, Charles D.: “Amoghavajra”, The Encyclopaedia of Religion (ed. Mircea Eliade), Vol. 1, pp. 238-239.

Vajrabodhi”, The Encyclopaedia of Religion (ed. Mircea Eliade), Vol. 15,

p. 181.

Pagel, Ulrich: The Bodhisattvapitaka, Buddhica Britannica series V, The Institute of Buddhist Studies, Tring, U.K., 1995.


Roerich, George N. (trs.): The Blue Annals, Royal Asiatic Society of Bengal, Calcutta, 1949, (rp. Motilal Banarsidass, Delhi, 1996).


Ruegg, David Seyfort: The Literature o f the Madhyamaka School o f Philosophy in India, Otto Harrassowitz, Wiesbaden, 1981.

Saunders, E. Dale: Mudra; A Study o f Symbolic Gestures in Japanese Buddhist Sculpture, New York, 1960, (rp. Princeton University Press, 1985).


 : “Mandalas; Buddhist Mandalas”, The Encyclopaedia of Religion (ed.

Mircea Eliade), Vol. 9, pp. 155-158.

Skorupski, Tadeusz: The Sarvadurgatiparisodhana Tantra (Elimination o f All Evil Destinies), Delhi, Motilal Banarsidass, 1983.


 : “Jyotirmahjarl: Abhaydkaragupta's Commentary on Homa Rites”,

Bulletin of the Research Institute of Esoteric Buddhist Culture (Milckyd Bunka kenkyiisho Kiyo), Vol. 8, December 1994, Koyasan University, Japan.



: “Saltyamuni's Enlightenment According to the Yoga Tantra”, Sambhasa 6,

1985, pp. 87-94.


 : “The Practices Conducive to Enlightenment The Thirty-seven

Bodhipdksikas and Other Practices According to Ndgdrjuna's Mahdprajhdparamitd-sdstra,\ London, SOAS, 1998.

Snellgrove, David L.: Indo-Tibetan Buddhism, London, 1987.

The Hevajra Tantra, Oxford University Press, 1959, (rp. 1980).

Snodgrass, Adrian: The Matrix and Diamond World Mandalas in Shingon Buddhism, Sata-Pitaka series, Vol. 354-355, New Delhi, 1988, (rp. 1997).

Takeuchi, K.: “On the Translation o f Sutras in the Song period and Appendix: A Chronological Catalogue o f the Translations”, The Mikkyo Bunka, Vol. 113,1975, pp. 27-53.


Taranatha: History o f Buddhism in India, translated from the Tibetan by Lama Chimpa and Alaka Chattopadhyaya, edited by Debiprasad Chattopadhyaya, Simla, 1970, (rp. Motilal Banarsidass, Delhi, 1997).

Thomas, Edward J.: The Life o f Buddha as Legend and History, London, 1927, (rp. 1956).

Todaro, Dale: An Annotated Translation o f the 1 Tattva-samgraha’ (part I) with an Explanation o f the Role o f the ‘ Tattva-samgraha' Lineage in the Teaching of Kukai, Ph.D., Columbia University, 1985, order no. 85-23250.

Tucci, Giuseppe: The Theory and Practice of the Mandala, translated from the Italian by Alan Houghton Brodrick, London, 1961.

Wayman, Alex: The Buddhist Tantras; Light on Indo-Tibetan Esotericism, New York, 1973, (rp. Delhi, 1990).



 : “Buddhism; Esoteric Buddhism”, The Encyclopaedia of Religion (ed.

Mircea Eliade), Vol. 2, p. 472-482,


Williams, Paul: Mahayana Buddhism; The Doctrinal Foundations, Routledge, London, 1989, (rp. 1991).

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Introduction


7. Meaning o f the title Sarvatathagatatattvasamgraha


The Sanskrit title of the text Sarva-tathagata-tattva-samgraha-ndma-mahayanasutra is translated into English as Mahayna Sutra Called the Compendium o f Truth o f All the Tathagatas} Although labelled a Mahayana sutra, being based on the philosophy of Mahayana Buddhism, especially the Yogacara school,2 the text is included among the tantras because it contains a body of tantric theories and practices. At the time of compilation the term tantra was not widely employed for this category of texts. However, it is notable that out of the five parts of this text, the term tantra is used only in the title of the fifth part. The Sanskrit title of the fifth part is called Tantra, Uttara-tantra and Anuttara-tantra o f the [[Sarva-tathagata-tattvasamgraha- ndma-mahdydina-sutra]]. In this part, the term tantra seems to clearly


imply that it stands for the practical and concrete ways of accomplishing the various kinds of attainments (siddhi). In a literal sense both sutra and tantra mean ‘thread’ or ‘continuous line’. In the case of the tantra, the ‘continuous line’ is open to various interpretations, either as the lineage of master-disciple, or the continuity of vows and pledges in the practitioner's stream of consciousness, or the continuity of practice leading to the ultimate goal.3 Apart from the doctrinal and practical differences between the two categories of texts, sutras and tantras differ with regard to the speaker, the audience and the locations for their teaching. Whereas the historical Buddha Sakyamuni teaches the sutras to human beings at various

geographical locations, the celestial Buddha Vairocana teaches the tantras to 1. According to the Japanese commentator Kukai (774-835 CE), the term sarvatathagata has two meanings, namely, exoteric and esoteric. In its exoteric meaning, it indicates all the Buddhas in the ten directions and the three times, and in its esoteric meaning, it indicates only the Five Buddhas and the corresponding Five Wisdoms, i.e. Vairocana and Pure-Absolute-Wisdom,

Aksobhya and Mirror-like-Wisdom, Ratnasambhava and Equality-Wisdom, Amitabha and Discriminating-Wisdom, and Amoghasiddhi and Active-Wisdom. (TSD. Vol. 61, No. 2221, pp. 2-3-22-3-1-18).


2. Japanese scholars assert that Mahavairocana sutra accepts the teaching of the Madhyamika school as its basic doctrine, but the STTS accepts the teaching of the Yogacara school as its basic doctrine.

3. Alex Wayman, “Buddhism; Esoteric Buddhism”, The Encyclopaedia of Religion, Vol. 2, p. 472-482; Joseph M. Kitagawa and Mark D. Cummings (ed.), Buddhism and Asian History, p.



Buddhas, bodhisattvas and gods in a variety of celestial palaces or Pure Lands. According to the text, The Compendium of Truth of All the Tathagatas was promulgated in the abode of the king of the Akanistha gods by die Lord Sakyamuni through his Sambhogakaya as Vairocana.


2. Textual Classification o f the Sarvatathagatatattvasamgraha


The Buddhist tantras broadly divide into four categories or classes, namely, Kriya (action)-, Carya (performance)-, Yoga (meditation)- and Anuttarayoga (supreme meditation)-tantras.4 Within these four classes, the STTS is classified as the principal text of the Yoga-tantras. The Tibetan monk and scholar Mkhas-grubije divides the Yoga-tantras into three groups, namely, the fundamental tantra, the explanatory tantras and the tantras which conform to respective sections of the fundamental tantra.6 Within this classification, the STTS constitutes the fundamental tantra and the Vajrasekhara tantra serves as the explanatory tantra? The above classifications into four tantra categories, the fundamental and

explanatory tantras, appertain to the Indo-Tibetan tradition. By contrast in China, Korea and Japan, the STTS is traditionally regarded as an integral part of the Vajrasekhara sutra % It is important to indicate at this point that the title Vajrasekhara sutra implies a completely different text from the Vajrasekhara tantra mentioned above. Apart from including the STTS as an integral part of the Vajrasekhara sutra, in a limited sense, the Far Eastern Buddhist tradition also


4. This kind o f categorisation is well attested in Tibetan sources but ultimately it originated in India and it has been widely accepted by scholars. The Tibetan historian, Bu-ston (1290-1364 CE) also employed this classification in compiling the Tibetan canon. The Kriyd-tantras treat c outer worship and ceremonies such as the building of temples, the erection of images of gods, etc. The Carya-tantras give instructions for cultic rituals. The Yoga-tantras deal with the practice of yoga. The Annuttarayoga-tantras teach higher mysticism, (Maurice Wintemitz, History of Indian Literature, Vol. II, p. 375).

In contrast, a complete Hindu Tantra should consist of four parts according to four main themes: firstly, {{Jnana[[ (knowledge) which comprises actual philosophical doctrines, sometimes with a monotheistic bias but sometimes leaning towards monism,, and also a ‘confused’ occultism including the ‘knowing’ of the secret powers of the letters, syllables, formulas and figures (mantrasastra & yantrasastra); secondly, Yoga (meditation & concentration) especially with a view to acquiring magical powers, hence also ‘magic’ (maydyoga); thirdly, Kriya (action)


including instructions for the making of idols and the construction and consecration of temples; finally, Caryd (conduct), such as rules regarding rites and festivals, and social duties. Although all these four branches are not treated in every single one of these works, they do all contain a medley o f philosophy and occultism, mysticism, magic, ritual and ethics. (Maurice Wintemitz, History o f Indian Literature, Vol. I, pp. 560-561).


5. Mkchas-grab-rje, Rgyud-sde-spyi’i-rnam-par-gzhag-pa-rgyas-par-brjod, translated into English under the title of Introduction to the Buddhist Tantric Systems by F.D. Lessing and A. Wayman, The Hague, 1968.


6. Ibid., p. 215.

7. Ibid,, p. 25.


According to Nakamura Hajime, the original name of the Vajrasekhara tantra is the Vajrasekhara-mahaguhyayogatantra. He maintains that this tantra is the second or third section of the Vajrasekhara sutra and is the explanatory tantra of the first section of the Vajrasekhara sutra. (Nakamura Hajime, Indian Buddhism, p. 323, footnote).


8. Chinese Jin-gang-ding-jing.


considers the Vajrasekhara sutra identical to the STTS. According to the two texts translated into Chinese by Amoghavajra, and known only in their Chinese versions, namely, Jin-gang-ding-jing-yu-qie-shi-ba-hui-zhi~gui translated as Outline of the Eighteen Assemblies of the Vajrasekhara Sutra (hereafter abbreviated OEA VS) and Dou-bu-tuo-luo-nUmu translatable as Eye o f the Dharani of All the Families,10 the Vajrasekhara sutra in its original form consisted of one hundred thousand gathas and eighteen assemblies preached in the different places of the Buddhist heavens.11 Out of the eighteen assemblies, the STTS forms the first and, as such, the most important and fundamental assembly. An analysis of these two texts provided in the following paragraphs reveals a whole range of complex and tangled problems concerning the origin and content of the Vajrasekhara sutra and its relationship to the STTS.


The OEAVS provides a detailed description of the STTS as the first assembly, but sheds very little information on the remaining seventeen assemblies. When comparing the description of the first assembly in the OEAVS and the Sanskrit version of the STTS, it is evident that the STTS was in existence during the time of Amoghavajra. However, since the Vajrasekhara sutra in its complete version describing the eighteen assemblies is not available, and since we have only rather brief descriptions of the remaining seventeen assemblies, it is difficult to assume that those seventeen assemblies mentioned in the OEAVS have ever existed. Moreover the actual existence of the Vajrasekhara sutra remains uncertain. Some Japanese scholars accept and affirm its real existence in the same way as the Prajnaparamita sutra and the {{Mahavairocana sutra]] consist of one hundred thousand gathas. Other scholars disagree and maintain that instead of accepting its


9. TSD. Vol. 18, No. 869, pp. 284-3-9-287-3-14.


The Chinese title of this text is literally translated into English as Outline of the Eighteen Assemblies of the Vajrasekhara-sutra-yoga. In abbreviating it to OEA VS, I have omitted the word yoga (Chinese yu-qie) on purpose because the word yoga is problematic. The OEAVS text reads Vajrasekhara-sutra-yoga, but its footnote reads Vajrasekhara-yoga-sutra. According to the first reading, either sutra-yoga contrasts with the tantra-yoga because of the difference in the method of practice, or the word yoga is used because the Vajrasekhara-sutra was completely different from the Mahayana sutras. However, according to the reading in the footnotes, the title refers to a kind of sutra called Vajrasekhara-yoga.

10. TSD. Vol. 18, No. 903, pp. 898-3-1-900-1-19.

11. According to the Japanese commentator Donjaku (1674-1742 CE) in his commentary on STTS, in the Sanskrit text, thirty-two syllables become one sloka. (TSD. Vol. 61, No. 2225, p. 128-2-5-6). Lokesh Chandra also asserts in a footnote on the STTS that “One hundred thousand gathas does not mean that the STTS is written in verses. It is a classical way of counting the syllables in a text. One gatha (slolca) is thirty-two syllables. Thus the STTS should have about three million two hundred thousand syllables.” (Lokesh Chandra, [[Sarva- Tathagata-Tattva-Samgraha]], Introduction, p. 26. There are two Sanskrit Devanagari editions of the STTS published by Lokesh Chandra under the same title. The first was reproduced in a facsimile and published jointly by Lokesh Chandra and David Snellgrove in 1981 and the second was published by Lokesh Chandra alone in 1987. The first one contains an introduction written by David Snellgrove and the second one contains an introduction written by Lokesh Chandra. In order to avoid confusion, whenever the introduction of David Snellgrove is quoted, the name of Lokesh Chandra is omitted in the reference.)


historical existence containing a systematised exposition of the eighteen assemblies, the Vajrasekhara sutra should be regarded as a kind of tantric Buddhist legend. Those scholars assume the existence of various kinds of STTS lineage texts, on the grounds that in OEAVS they can only find evidence for three out of the eighteen assemblies in the Chinese and Tibetan canons. These three assemblies have been regarded as the first, sixth and fifteenth assemblies in the Japanese tradition.12 According to the OEAVS, the first assembly is called STTS, the sixth is called Truth-Yoga of the Pledge of Unceasing-Great-Joy ([[maha-sukha-amogha-samayatattva- yoga]]) and the fifteenth is called Yoga o f the Secret Assembly (guhya-samajayoga).


Even though the sixth assembly appears to correspond with the text called Li-qu-jing and although the fifteenth assembly has been regarded as corresponding to the Guhyasamaja tantra,14 except for the first assembly, it cannot be asserted that the other two assemblies have ever existed as fully developed texts at the time of Amoghavajra, and the brief explanations concerning these two assemblies as given in the OEAVS are not adequate to confirm their existence. The original author of the OEAVS remains unknown, and only the name of Amoghavajra is recorded as its translator. Two possible explanations relate to the original author. Firstly, this text may have been composed or directly transmitted in Sanskrit to Amoghavajra by his teacher Nagabodhi. Secondly, it may have been compiled or composed in Sanskrit by Amoghavajra himself as an analysis or a


short essay on the STTS lineage texts which were in circulation at that time. This possibility is based on the fact that there exists neither an original Sanskrit version of the OEAVS, nor any Tibetan translation. As far as it is known, there is no Tibetan text which mentions the Vajrasekhara sutra or the eighteen assemblies.

The second text, called Dou-bu-tuo-luo-ni-mu, consists of extracts from six tantric texts, namely, the Vajrasekhara sutra, Mahavairocana sutra, [[Susiddhi sutra]], Guhya-tantra sutra, Subdhupariprccha sutra and Trisamaya sutra. In terms of the Vajrasekhara sutra, this text briefly explains only two assemblies out of the eighteen assemblies, namely, the first assembly (STTS) and the third assembly. The contents of both assemblies are mostly based on the OEAVS.


12. Some Japanese scholars have tried to find the existence of the other fifteen assemblies in the Chinese and Tibetan canons. They believe that the 1st, 2nd, 3rd, 4th, 6th, 7th, 8th, 13 th, 15th and 16th assemblies are identifiable. For further details, see Matsunaga Yukei, Miklyd no Rekishi, pp. 64-65 and its footnote; pp. 71-72.


13. The Far Eastern tantric tradition regards the sixth assembly as Li-qu-jing (Japanese Ri-shu- Icyo), and when Li-qu-jing is mentioned in the Japanese Shingon tradition, it indicates a text called Da-le-jin-gang-bu-kang-zhen-shi-san-mei-ye-jing translated by Amoghavajra. (TSD. . Vol. 8, No. 243, pp. 784-1-786-2). Including this Chinese translation by Amoghavajra, there are ten versions, one in Sanskrit, six in Chinese and three in Tibetan. Regarding Li-qu-jing, see Ian Astley-Kristensen, The Rishulcyo, The Institute of Buddhist Studies, 1991. 14. Versions of the Guhyasamaja tantra exist in Sanskrit, Chinese and Tibetan. The Chinese version was translated by Danapala in 1002 CE under the title of Fo-shuo-i-qie-ru-lai-jingang- san-ye-zui-shang-mi-mi-da-jiao-wang-jing. (TSD. Vol. 18, No. 885, pp. 469-3-12-511- 2-18).


Consequently, this text, like the first text, does not provide a positive proof for the existence of the Vajrasekhara sutra and the eighteen assemblies.


3. Sanskrit Version, Translations and Commentaries


The one and only extant Sanskrit manuscript of the STTS is preserved in the National Archives in Kathmandu. This manuscript has been reproduced in a Romanized version by Yamada Isshi and forms the basis of the present study. Two major translations of the STTS are found in the Chinese canon. One is a complete translation of the whole text made by Danapala (Chinese Shi-hu) called Fo-shuo-yi-qie-ru-lai-zhen-shi-she-da-cheng-xian-zheng-san-mei-da-jiao-wangjin g j5 which translated into English is The Sutra called the King of the Great Ordinance o f the Perfect Comprehension of the Mahayana, the Compendium of


Truth of All the Tathagatas Preached by the Buddha, and reconstructed into Sanskrit is [[Buddha-bhdsita-sarva-tathagata-tattva-samgraha-mahdydnaabhisamaya- mahakalpa-raja-sutra]]. The second Chinese translation by Amoghavajra (Chinese Bu-kong) is earlier but incomplete, containing only chapter 1 which amounts to one fifth of die whole text, entitled Jin-gang-ding-yi-qie-ru-laizhen- shi-she-da-cheng-xian-zheng-da-jiao-wang-jing,16 which translated into English is The Sutra called the [[King of the Great Ordinance of the Perfect Comprehension of the Mahayana, the Compendium of Truth o f All the Tathagatas of the Vajra-peak, and its Sanskrit reconstruction [[Vajra-sekhara-sarva-tathagata tattva- samgraha-mahdydna-abhisamaya-maha kalpa-raja-sutra]].

There is one complete Tibetan version translated from Sanskrit by Sraddhakaravarman and Rin-chen-bzang-po called De-bzhin-gshegs-pa thams-cad- Icyi de-kho-na-nyid bsdus-pa zhes-bya-ba theg-pa chen-po 7 mdo.xl Mkhas-grub-ije maintains that there are three primary commentaries on the STTS written by Buddhaguhya, [[Sakyamitra] and Anandagarbha,18 all of whom were well known tantric masters in India. These three commentaries were originally written in Sanskrit, but unfortunately none of the original Sanskrit versions survived. At present they exist only in Tibetan translations preserved in the Tibetan canon. There are no Chinese translations of these commentaries. Buddhaguhya’s commentary called Tantrdrthavatdra was translated into Tibetan by ’ Jam-dpal-go-cha under the title of Rgyud-kyi don-la jug-paP Sakyamitra's commentary called


Kosalalamkara-tattva-samgraha-tikd was translated by Dharmasribhadra and [[Rinchen- bzang-po]] under the tide of De-kho-na-nyid bsdus-pa’i rgya-cher bshad-pa ko-sa-la 7 rgyanP Anandagarbha's commentary called Sarva-tathagata-


15. TSD. Vol. 18, No. 882, pp. 341-445-2-10.

16. TSD. Vol. 18, No. 865, pp. 207-223-2-21.

17. TTP. Vol. 4, No. 112, pp. 218-283.

18. F.D. Lessing and Alex Wayraan (trs.), Introduction to the Buddhist Tantric Systems, p. 25.

19_ XTP V ol. 70i No. 3324, pp. 34-73-4-7.

20. TTP. No. 3326, Vol. 70 (pp. 190-305); Vol. 71 (pp. 2-94-2-6).


tattvasamgraha-mahdydndbhisamaya-ndma-tantra-vydkhya-tattvdlokakari-ndma was translated by Thugs-qe-chen-po and Thags-pa-shes-rab under the title of Debzhin- gshegs-pa thams-cad-Icyi de-kho-na-nyid bsdus-pa theg-pa chen-po mngonpar rtogs-pa zhes-bya-ba ’i rgyud-kyi bshad-pa de-kho-na-nyid snang-bar byed-pa zhes-bya-ba.21 While Buddhaguhya's commentary provides a broad exposition of the theories and practices of the STTS, Sakyamitra's and Anandagarbha's commentaries are very extensive and explain in great detail the entire text of the STTS. Furthermore, in the introduction to his commentary, Anandagarbha gives an outline of the structure of the STTS.


4. Dates of the Texts


As the tantras are considered as being ‘Buddha-Word (Buddhavacana)’, they do not have human authors who could be dated, and since the actual dates of their compilations are not given either, it is difficult to establish the time of'their appearance in either oral or written forms. However, taking into account the scattered pieces of information, it is possible to establish at least an approximate date for the compilation of the STTS. The STTS itself contains no information about its author or the date of its compilation, and it does not contain any other information which could be helpful in establishing the exact date of its compilation. Nakamura Hajime maintains that Nagabodhi of South India is the author of the STTS, or if not, at least he is the one who completed it.22 His opinion is based on stories relating to Vajrabodhi, which will be assessed in the next section. The Sanskrit manuscript of the STTS which Yamada Isshi reproduced in a Romanized version was discovered and photographed by David Snellgrove and John Brough in Kathmandu, Nepal, in 1956. Snellgrove discusses the date of this Sanskrit manuscript in his introduction to the facsimile reproduction of the STTSP Snellgrove argues that the discovered bundle of Indian palm-leaves written in Brahmi-script had its origin in the 9th-10th century Bihar. However, this argument is only based on the antiquity of the manuscript.


While the Sanskrit version is difficult to date, it is relatively easy to date the Chinese translations of the STTS. When the Chinese translations of the STTS were made, they were dedicated to the emperors by the translators, and they included the names of the translators and the dates when the translations were made. Taking into account such information, we can attempt to estimate the dates of the first Sanskrit edition of the STTS. The Chinese translation of the entire text of the STTS was completed by Danapala between 1012 CE and 1015 CE during the Bei-song dynasty. Its contents can be regarded as being basically the same as the available Sanskrit version. So far as the biography of Danapala is concerned, there are no 21. TTP. No. 3333, Vol. 71 (pp. 134-301); Vol. 72 (pp. 2-152).


22. Nakamura Hajime, Indian Buddhism, p. 324.

23. David Snellgrove, Sarva-Tathagata-Tattva-Samgraha, Introduction, p. 5.


detailed records, but according to some Chinese sources, he arrived in China from northern India in 980 CE.24 If this is the case, then the Sanskrit version acquired by Danapala was composed at some date before 980 CE. The earlier and incomplete Chinese translation was completed by Amoghavajra (705-774 CE) in 753 CE during the Tang dynasty. His translation is very similar to the present Sanskrit version, but it contains only the first chapter, which is, however, the longest and most important of all the chapters. According to his biography, Amoghavajra25 left China in 741 CE, visited Ceylon and India, and then returned to China in 746 CE.


During his stay in Ceylon and India, he is said to have learned not only about the doctrines and rituals of the STTS, but also to have collected five hundred Sanskrit texts, including the STTS and its lineage texts. If we accept this information as reliable, then we can assume that the Sanskrit version of the STTS which he acquired had been already in existence before 741 CE. This, in turn, leads to the question whether the existing Sanskrit version is actually Amoghavajra's original work, the answer to which is found in two Chinese sources. Firstly, there is a letter dedicated to the emperor by Amoghavajra just before his death, in which, he writes

"... I travelled the five regions (of India)27 across the South Sea (of China). There I learned and collected not only the Vajrasekharayoga text consisting of one hundred thousand gathas, but also all the (five) families' mantras and sutras and commentaries which amounted approximately to five hundred thousand gathas. I hoped to translate them all in order to repay your benefits. However, without accomplishing my hope, I have suddenly arrived at the end of my life. This is my regret....”


24. See Takeuchi, K., “On the Translation o f Sutras in the Song period and Appendix: A Chronological Catalogue o f the Translations”, The Mikkyo Bunka, Vol. 113, 1975, pp. 27-53.


25. Amoghavajra (705-774 CE) was bom in a North Indian brahman family and his father died in his childhood. At fifteen, he became the disciple of Vajrabodhi (671-741 CE), and travelled with him to Srivijaya (Sumatra) and then on to China in 720 CE. He learned about Buddhism, especially about tantric doctrines and rituals under the instruction of Vajrabodhi, until Vajrabodhi’s death in 741 CE. After Vajrabodhi's death, he visited Sinhala (Ceylon) and India as the late Master had once ordered him to do. He learned about the doctrines o f the tantras of the STTS lineage and the rituals of the Mahavairocana sutra from the acarya, Nagabodhi (Samantabhadra) in Ceylon. Then, he returned to China with five hundred Sanskrit sutras and commentaries in 746 CE. From that time until his death, he spent most of his time translating and performing rites for members of the imperial family. After he had translated the Sanskrit texts into Chinese, he presented them (77 sections and 101 volumes) to the emperor in 771 CE. All of them were then included in the Chinese canon. (Chou Yiliang, “Tantrism in China”, Harvard Journal of Asiatic Studies, Vol. 8, pp. 241-332; Orzech, Charles D., “Amoghavajra”, The Encyclopaedia of Religion, Vol. 1, pp. 238-239; Sawa Ryuken (ed.), Mikkyo Jiten, p. 589).


26. See Zhen-yuan-xin-ding-shifiao-mu-lu, TSD. Vol. 55, No. 2157, p. 890-2-12-15; Dai-zongchao- zeng-si-kong-da-ban-zheng-guang-zhi-san-zang-he-shang-biao-zhi-ji, TSD. Vol. 52, No.

2120, p. 846-2-14-18.

27. According to the DoC (p. 116), the five regions of India indicate the north, south, east, west and central regions of India.


According to this letter, the whole collection of the Vajrasekhara sutra including the STTS might have already been in existence. However, so far no one has discovered the Sanskrit version of the Vajrasekhara sutra consisting of one hundred thousand gathas and the eighteen assemblies which Amoghavajra brought back from India and Ceylon. Furthermore, talcing into account the evidence provided in his letter which suggests that Amoghavajra did not translate the whole Vajrasekhara sutra or die complete STTS as its first assembly from Sanskrit into Chinese, it is rather difficult to believe in or affirm the existence of the


Vajrasekhara siitra and the complete STTS. However, different kinds of the STTS lineage texts may have existed when Amoghavajra visited India, which he collected. Furthermore, as already mentioned above, there is the evidence of the OEA VS text. The present Sanskrit version of the STTS consists of five parts, but the first assembly as described in the OEAVS consists of four parts. The OEAVS28 reads:- “The first assembly is called King of the Ordinance o f the Compendium o f Truth o f All the Tathagatas ([[Sarva-tathagata tattva- samgraha-kalpa-raja]]). It comprises four main parts: the first is called Vajra-sphere,29 the second is called [[Conquest of the Three Worlds]],30 die third is called Conversion of the Entire World and the fourth is called Universal Success.”


Relying on this evidence, Japanese scholars, such as Matsunaga Yukei,33 argue that Amoghavajra brought to China the Sanskrit version of the STTS consisting of only four parts, and that the fifth part was probably added later. A comparison of the above titles with the titles in the Sanskrit version shows they are not the same. The main titles of the first assembly in the OEA VS are based on the names of the maha~ mandalas of the first four parts, but the main titles of the present Sanskrit STTS are based on the four families, namely, Tathagata, Vajra, Dharma and Karma.


However, the subtitles of both texts focusing on the mandalas are mostly the same. The fifth part of the present Sanskrit STTS containing no mandala explains the secret methods of the various attainments (siddhi) corresponding to the four families, i.e. Tathagata, Vajra, Padma and Marti (or Ratna). This may be one of reasons that the OEAVS divides the STTS into four parts because it focuses on the mandalas in its analysis of the STTS. This classification of the STTS based on mandalas is also employed by the Tibetan commentator, Mlchas-grub-qe


(1385-1483 CE).34


28. TSD. Vol. 18, No. 869, p. 284-3-9-18.


29. Vajradhatu-mandala is described in S. part one (pp. 3-152).

30. Trailokyavijaya-mandala: S. part two (pp. 153-313).

31. Sakalajagadvinaya-mandala: S. part three (pp. 314-381).

32. Sarvarthasiddhi-mandala: S. part four (pp. 382-434).

33. Matsunaga Yukei, Miklcyo no ReJdshi, p. 67.

34. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, p. 217.


So far as the subject matter of the first four parts are concerned, from a comparison of the first assembly with the present Sanskrit STTS, the descriptions of the four parts in the OEAVS are mostly the same as the four parts in the Sanskrit version except for the fifth part. However, there are some indications of the existence of the fifth part in the first assembly of the OEA VS. The closing section of the first assembly also includes a brief description which can be found in the fifth part of the present Sanskrit STTS. The OEAVS35 reads


“Next, (the text) completely explains the recitations of the verses about the secret-assistance-means (updya)36 of each mandala mentioned previously. Then it unfolds the enlightenment of the eight events of the Buddha's life as a Transformation-body (nirmanakaya) of the Buddha Sakyamuni manifested in Jambudvipa, All of these are the illusory transformations of the Bodhisattva Samantabhadra. All the Tathagatas praise again Vajrasattva with the one hundred and eight names. The first assembly has thus been explained.”


The fifth part of the Sanskrit STTS consists of four chapters, namely, chs. 23, 24, 25, 26-a and 26-b. Only chapter 23 contains the term upaya in its title. In chapters 23, 24 and 25, the STTS explains the methods of gaining the various attainments t (siddhiy), the secret-attainments (guhya-siddhi) and the higher secret-attainments (guhya-uttara-siddhi), which are connected with the four families or the four main mandalas described in the first four parts of the STTS. In addition, these three chapters are mostly composed in verse. Chapter 26-a of the STTS entitled Supreme Tantra (anuttara-tantra) is composed in prose and verse and deals with the rituals


devised for the attainments. In this chapter, we find a fourfold verse dealing with the upaya-siddhi,37 which can be regarded as the corresponding part of the above statement made in the OEA VS.


As in the above statement of the OEAVS, chapter 26-b, serving as an epilogue, describes the story of Sakyamuni's Enlightenment as follows:- “The Buddha Sakyamuni having become enlightened, approached his Seat of Enlightenment (bodhi-manda) under the Bodhi-tree from the summit of Mount Sumeru.... Having subjugated the Evil Ones (mara), he gained complete Enlightenment ([[anuttarasamyak- sambodhi]]). He praised firyn-Yajrapani residing in his heart with one hundred and eight names.... Then all the Tathagatas praised the Mahabodhisattva Vajrapani with one voice.”38 35. TSD. Vol. 18, No. 869, p. 286-1-21-25.

36. David Snellgrove asserts: “The term updya was firstly employed as a pair together with the term ‘wisdom’ (prajna) in Mahayana Buddhism. Then in Tantric Buddhism the dual concept of ‘two-in-one ’ expressed as Wisdom/Means, Voidness/Compassion, Female/Male, Lotus/ Vajra, was developed as the fundamental symbol and practice o f the Tantric-yoga.”


(David Snellgrove, Indo-Tibetan Buddhism, pp. 281-288).

37. S. pp. 533-8-534-7, T. p. 279-1-6-2-3, C2. p. 440-2-10-24.

3S. S. pp. 556-563, T. pp. 282-2-2-283-2-1, C2. pp. 444-1-13-445-2-1.


According to Donjaku in his commentary on the STTS from the Chinese translation (of Danapala) and the OEAVS, the first assembly (the STTS) explains in its concluding passages the skilful means {updya) of the secret-attainments of all the families. Furthermore, Donjaku explains the Enlightenment of the eight events of the Buddha's life as a (transformation) body of the Buddha Sakyamuni manifested in Jambudvipa as the illusory transformations of the Bodhisattva Samantabhadra.39 Taking into account the matters discussed above, the Sanskrit version acquired by Amoghavajra should be regarded as a foil version closely corresponding to the present Sanskrit STTS. Whenever there are some differences between them, they can be explained such differences by assuming that the present Sanskrit version has been revised at some later period and that its fifth part was subsequently expanded. Therefore, the first edition of the STTS which basically corresponds to the present Sanskrit version was completed in the early eighth century CE.


In addition to the translated versions of Danapala and Amoghavajra, extant in the Chinese canon is the oldest Chinese version by Vajrabodhi (Chinese Jin-gangzhi), Al which shows the earliest stage of the STTS. The Chinese title of this text Jingang- ding-yu-qie-zhong-liie-chu-nian-song-jingf2 is translated into English as Recitation-sutra abridged from the Vajrasekhara-yoga. This Recitation-sutra was translated from the Sanskrit into Chinese in 723 CE. The Sanskrit version of Vajrabodhi definitely existed before 720 CE because Vajrabodhi brought this version of the text into China in 720 CE. The contents of Vajrabodhi's version may be compared briefly with those of Amoghavajra, Danapala and the present Sanskrit versions. The Recitation-sutra begins with the following salutation:- “... I salute the One (Vairocana) whose Body, Speech and Mind Vajra penetrated into the three realms, and who became the sovereign and expounded the Vajradhatu, and I also salute


39. TSD. Vol. 61, No. 2225, p. 124-1-20-23.


40. The few minor differences between the OEAVS and the STTS are found in the STTS chapters 6 and 9. All such differences have been indicated in the relevant chapters. See footnote no. 34 of chapter 6 and introductory section of chapter 9.


41. Vajrabodhi (671-741 CE) was bom into a South Indian brahman family. He became a monk in Nalanda Monastery at the age of ten and studied the sabdavidya under Master Santijnana. At the age of fifteen, he went to West India, where he studied Dharmakirti's sastra for four years, and then returned to Nalanda where he studied the sutras, abhidharma and so on. He was fully ordained at the age of twenty. Again he went to West India to study the Hinayana treatises and the doctrine of yoga, ‘The Three Mysteries’ and dharani. Leaving India, he travelled to Ceylon and Srivijaya (Sumatra), where he was apparently taught a Vajrayana tradition distinct from that taught at Nalanda. From Srivijaya, he sailed to China and arrived

at the capital of the Tang dynasty in 720 CE. He was accompanied by his soon-to-be-famous disciple Amoghavajra. From that time to his death, he spent most of his time in ritual activity, in translating texts and in the production of esoteric art. (Chou Yi-liang: “Tantrism in China”, Harvard Journal o f Asiatic Studies, Vol. 8, pp. 241-332; Orzech, Charles D., “ Vajrabodhi", The Encyclopaedia o f Religion, Vol. 15, p. 181; Sawa Ryuken (ed.): Mildtyo Jiten, p. 241).

42. TSD. Vol. 18, No. 866, pp. 223-2-22-253-3-10.


Aksobhya, Amitabha, Vajrasattva, Akasagarbha, Avalokitesvara and Visvakarma.”


However, the Sanskrit STTS begins with the standard introductory statement, “Thus have I heard, at one time, the Lord was staying in the abode of the king of the Akanistha gods.” Throughout the entire Recitation-sutra, there is no indication of the name of the speaker explaining the doctrine. However, Vajrabodhi learned the doctrine of the STTS from his master Nagabodhi, so this Recitation-sutra might have been composed by Nagabodhi.


After the opening salutations, the Recitation-sutra continues as follows:- “I will briefly explain the doctrine of the Supreme Secret of the Truth gathered by all the Tathagatas, which is derived from The Ordinance-ldng o f Great Yoga o f the Vajrasekhara consisting of one hundred thousand gathas, for the purpose of guiding the yoga-practitioner towards accomplishing the method of yoga.”


Taking into consideration the above statement we can assume that the Recitation sutra constitutes an abridged version of the full Vajrasekhara sutra consisting of one hundred thousand gathas. However, the Recitation-sutra does not mention the eighteen assemblies. The statement that the Vajrasekhara sutra consists of eighteen assemblies was mentioned not by Vajrabodhi, but by Amoghavajra. Furthermore, the Recitation-sutra contains the descriptions of the thirty-seven deities These descriptions can be regarded as being mostly the same as found in the Sanskrit STTS. In addition to that, the Recitation-sutra contains the same mantras as the Sanskrit STTS employed in ‘the five consecutive stages of perfect enlightenment


(panca-abhisambodhi). However, there are some differences between these two texts. While the Sanskrit STTS describes the five abhisambodhis following a systematic structure which consists of five mantras only and brief accompanying explanations, the Recitation-sutra inserts some mantras and mudras both between the third and fourth mantras and between the fourth and fifth mantras. Thus the Recitation-sutra contains a more elaborate procedure and additional mantras in connection with the five abhisambodhis. Finally, the Recitation-sutra appears to be a kind of tantric manual rather than a standard sutra because it does not describe any historical background and focuses mainly on the detailed exposition of tantric rituals such as the construction mandalas, the performance of consecrations, as well


43. Ibid., pp. 223-2-26-3-11. 44. Nakamura Hajime, Indian Buddhism, p. 324. 45. TSD. Vol. 18, No. 866, pp. 223-3-12-14. 46. TSD. Vol. 18, No. 866, pp. 227-3-9-236-3-16. Cf. S. pp. 11-58, C l. pp. 208-2-9-216-1-9, C2. pp. 342-2-29-351-2-14, T. pp. 220-3-3-228-4-6.


The thirty-seven deities include the five Tathagatas, i.e. Vairocana, Aksobhya, Ratnasambhava, Amitabha (or Lokesvararaja) and Amoghasiddhi, the sixteen Mahabodhisattvas, the four Paramitas, the four Internal Offerings, the four External Offerings and the four Guardians. With regard to the descriptions of the five Tathagatas, they are not the same in the Recitation-sutra and the STTS. The former gives a more detailed explanation, but the explanations of the other thirty-two deities are largely the same.


as the execution of homa rites. Furthermore, it seems that it employs a direct method of teaching person to person, master to pupil. Therefore, it is possible that the full version of the STTS might have developed gradually from tantric manuals such as the Recitation-siitra and that eventually it reached its present format as a standard sutra. Taking into account the similarities in many parts between the Recitation-sutra and the STTS, most Japanese scholars assert that the Sanskrit version of the Recitation-sutra may have been the earlier version of Amoghavajra's Sanskrit version, and that it should be considered as the oldest alternative version of the STTS. However, this does not mean that it can be regarded as the first version of the present STTS.


With respect to the date of the Tibetan translation of the STTS, most scholars argue that it was translated in the early eleventh century because one of its two translators was Rin-chen-bzang-po, who lived between 958 CE and 1055 CE. The possible dates of the present STTS depend on assumed dates of the Indian commentaries. As mentioned above, there are three major commentators Buddhaguhya, 6akyamitra and Anandagarbha, from whose dates the date of the fully developed version of the STTS can be deduced. Although the fully-fledged biographies of these three commentators are not available, certain texts provide biographical information.

Concerning Buddhaguhya, there is a general agreement between scholars that he was a famous tantric master active in the eighth century. According to the Tibetan Lama Taranatha, Buddhaguhya lived during die period of the Indian king


Dharmapala (770-810 CE or 775-812 CE),49 a contemporary of the Tibetan king, Khri-srong-lde-btsan, who ruled from 755 CE to 797 CE.50 King Khri-srong-lde- 47. Taranatha, History o f Buddhism in India, pp. 274-283.

rGya-gar-chos- ’byung (History o f Buddhism in India) written by the Tibetan Lama Taranatha in 1608 CE gives some information about the lives of Buddhist masters in India, particularly those relevant to Tibetan teaching lineages.


48. The contemporaries of Buddhaguhya included the great logician Kalyan Gupta, Haribhadra, Sundaravyuha, Sagaramegha, Prabhakara, Purnavardhana, the great vajracharya Buddhajnanapada and his disciple Buddhasanti, and in Kashmir, the acarya Padmakaraghosa, the logician Dharmakaradatta and Simhamukha, the expert in Vinaya. Buddhaguhya and Buddhasanti were disciples of the acarya Buddhajnanapada. (Taranatha, History o f Buddhism in India, pp. 276-277).


49. The above dates given for Dharmapala are provided by David Seyfort Ruegg. In his opinion, Dharmapala ruled for thirty-seven or forty years. (David Seyfort Ruegg, The Literature o f the Madhyamaka School o f Philosophy in India, p. 101 and footnote). But Taranatha says that Dharmapala ruled for sixty-four years. (Taranatha, History of Buddhism in India, p. 274). 50. Alaka Chattopadhyaya maintains that concerning the reigning period of the Tibetan king [[Khrisrong- lde-btsan]], there is a difference between Tibetan and Chinese historians. ’Gos lo-tsa-ba (1392-1481 CE) asserts that Khri-srong-lde-btsan ruled from 755 CE to 780 CE, then his son, Mu-ne-btsan-po ruled from 780 CE to 797 CE, and then Ju-tse-btsan-po ruled from 797 CE to 804 CE. (George N. Roerich (trs,), The Blue Annals, pp. 51-52). However, according to Chinese annals, Khri-sron-lde-btsan ruled from 755 CE to 797 CE, and then Mu-ne-btsanpo ruled from 797 CE to 804 CE. (Alaka Chattopadhyaya, Atisa and Tibet, pp. 212-265).


btsan invited Buddhaguhya to Tibet, but Buddhaguhya declined the invitation.51 Thus, it would seem certain that Buddhaguhya lived in the late eighth century CE, and that the complete STTS was composed before that time since Buddhaguhya wrote a commentary on it. However, Buddhaguhya's commentary is relatively brief and deals mainly with doctrines of the five abhisambodhis and the thirty-seven deities. Furthermore, it does not comment on the text, sentence by sentence, like the other two commentaries, nor does it refer to or speak about the whole text like Anandagarbha. Therefore, it cannot be assumed with any degree of certainty that the STTS existed in his time in the format in which it was available to the other


commentators and in which it is now known to us. Thus, it is necessary to seek and establish the dates of Sakyamitra and Anandagarbha whose commentaries provide detailed expositions of the teachings of the whole STTS. Unfortunately, the dates of these two commentators are not fixed and remain open to conjecture. Scholars have different opinions regarding Sakyamitra and Anandagarbha. Alex Wayman suggests that both Sakyamitra and Anandagarbha may be only tentatively placed in the tenth century, just prior to the translation of their works into Tibetan.52 On the other hand, there are scholars such as Matsunaga Yukei, who argue that all three Indian commentators were contemporary masters of Yoga-Tantra schools in the eighth century. Similar dates and explanations are given in the Mikkyo Jiten (p. 11). This source also maintains that Anandagarbha was contemporary with


Buddhaguhya and Sakyamitra, and that all three of them lived in the eighth century. According to the Tibetan historian Taranatha, there were two Sakyamitras. The first Sakyamitra is said to have been a disciple of the acarya Nagarjuna,54 but no concrete information is available about his life.55 The second Sakyamitra is the one who wrote a commentary on the STTS. He lived during the reign of the Indian king Devapala, and was a disciple of the acarya Sakyaprabha. According to Taranatha, since Sakyamitra composed his commentary on the STTS in Kosala, he called it Kosalalamkara. In the latter part of his life, he went to Kashmir and intensively worked for the welfare of the living beings.56 Thus, in order to calculate the dates of Sakyamitra, we need to establish the dates of the Indian king Devapala and of the acarya Sakyaprabha. Taranatha says that king Devapala ruled for forty-eight years, his son Rasapala ruled for twelve years, and Rasapala's son was Dharmapala


51. Taranatha, History of Buddhism in India, p. 282.

52. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp.

24~25, footnote.

53. Matsunaga Yukei, Mikity o no Rekishi, p 68.

54. ’Gos lo-tsa-ba also gives the same information about Sakyamitra as a disciple of Nagarjuna. He mentions that the acarya Nagarjuna, who was a disciple of Saraha, had four chief disciples, namely, Sakyamitra, Aryadeva, Nagabodhi and Candrakirti. (George N. Roerich (trs.), The Blue Annals, pp. 359-360).


55. Taranatha, History o f Buddhism in India, p. 128. 56. Ibid., pp. 268-270.


(770-810 CE or 775-812 CE) who ruled for sixty-four years. The acarya Sakyaprabha lived during the time of Gopala who ruled prior to Devapala. In the light of this information, Sakyamitra probably lived between the late seventh and early eighth centimes. However, the veracity of Taranatha's chronology is undermined by Bu-ston who states in his history that Devapala was the grandson of Dharmapala and the father of Mahipala. Maurice Wintemitz states that Sakyamitra is mentioned by Taranatha as a contemporary of Devapala of Bengal (about 850 CE).59 Keith Dowman also mentions that King Devapala ruled between 810 CE and 840 CE.60 On the basis of this evidence, Sakyamitra was active in the middle of the ninth century.


Concerning the dates of Anandagarbha, Toganoo Shoun argues that he lived in the tenth century and wrote two commentaries on the STTS, the Tattvaloka, as already mentioned above, and tire Vajradhatu-mahamandalapayika,62 which describes the rites that deal with the worship and consecration of the Vajradhdtumandala. However, Taranatha claims Anandagarbha lived during the reign of Mahipala who died in the same year as the Tibetan king Ral-pa-can (814-836 CE or 817-836 CE).63 Anandagarbha, therefore, belongs to the early ninth century. From the above pieces of information about the dates of Sakyamitra mid Anandagarbha, it is evident that there is no agreement between the available sources and scholars. However, it seems reasonable to assume that both Sakyamitra and Anandagarbha lived in the early ninth century because their commentaries cover the whole of the STTS and are fully-fledged compositions, and are probably later than Buddhaguhya's commentary. An additional argument is that when comparing the commentaries of Sakyamitra and Anandagarbha, the latter was composed on the basis of Sakyamitra's commentary.


Vajrabodhi's version of the STTS, which belongs to the late seventh century, appears incomplete and Amoghavajra's version, which belongs to the middle of the eighth century, is no more than the first compilation of the STTS. In addition, Amoghavajra never mentions the three Indian commentaries by Buddhaguhya, Sakyamitra and Anandagarbha, which were not translated into Chinese. There is a


57. Ibid., pp. 271-274.

5S. Ibid., p. 266, footnote; Bu-ston, History o f Buddhism, Part II, pp. 156-158.

59. Maurice Wintemitz, History of Indian Literature, Vol. II, p 382.

60. Keith Dowman, Masters of Mahamudra, p. 50.

6h Toganoo Shoun, Kongocholcyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 11—13.

62. TTP. Vol. 74, No. 3339, pp. 2-25-2-8.


63. Taranatha, History o f Buddhism in India, pp. 284-287.


According to Taranatha, Masuraksita, a son-in-law of king Dharmapala, ruled for about eight years, Vanapala, a son of king Dharmapala, ruled for about ten years, and Mahipala, the son of king Vanapala, ruled for fifty-two years. The time of the death of this king was the same as that of the Tibetan king [[Khri-ral (Ral-pa-can). The Tibetan king Ral-pa-can, from 814 CE to 836 CE according to ’Gos lo-tsa-ba, (George N. Roerich (trs.), The Blue Annals, pp. 52-53), but in the Chinese annals he ruled from 817 CE to 836 CE. (Alaka Chattopadhyaya, Atisa and Tibet, pp. 250-265).


possibility that there existed different persons who had the same names or that the commentaries were composed by the disciples of the commentators under the names of their masters.


5. Origin of the Sarvatathagatatattvasamgraha


Just as the Prajnaparamita sutras are said to have consisted of one hundred thousand gathas, similar legends regarding die STTS appear in the Chinese canon. The account which describes the origin of the STTS is given in a text called [[Jingang- ding-jing~da-yu-qie-mi-mi-xin-di-fa-men-yi-jue]], translated into English as Secret of the Meaning of the Doctrine of the Esoteric Mind of the Great Yoga of the Vajrasekhara sutra. The introductory paragraph of this text reads "The Vajrasekhara sutra has an extensive version consisting of one hundred thousand gathas. (maybe Amoghavajra) have never heard of it, and since it encapsulates aspects of the very profound and esoteric phenomenal world of all the Buddhas and Mahabodhisattvas, the Sravakas, Pratyekabuddhas, gods and men cannot hear or understand it with their humble knowledge. The two volumes of the Brahmajala sutra which originated from this sutra contain only the most simple aspects (of the Vajrasekhara sutra). The profound aspect (of the Vajrasekhara sutra) is


basically too difficult (for me) to understand. The abridged yogatext (of the Vajrasekhara sutra) was explained and handed down by someone who was initiated in India, but its extensive version was not transmitted. The version in one hundred thousand gathas is the second short text in the Bodhisattva-pitaka. According to the acarya (maybe Vajrabodhi), the large collection of the Vajrasekhara sutra, whose size was as wide and as long as a bed and whose thickness was approximately fifteen metres, contained countless gathas. For several hundred years after the death of the Buddha, it was preserved inside an iron stupa in Southern India, which nobody could open due to it being sealed behind an iron gate and locked with an iron key. However, when the influence of


64. TSD. Vol. 39, No. 1798, pp. 808-821.

65. The real author of this text will never be known

. In its introductory part, an important word is


used, that is, the acarya (maybe Vajrabodhi), which may be closely related to the author of the text. Toganoo Shoun (Kongochdkyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. m , pp. 3~4) maintains that Vajrabodhi translated this text (from Sanskrit into Chinese), and that Amoghavajra wrote it down. In contrast, although the tradition (since Kukai) attributes the dictation of this text to Vajrabodhi and written down by Amoghavajra, Matsunaga Yukei (Mikkyo no Reldshi, p. 65) asserts that it might have been composed by somebody else at a later period because there is no mention of this text in the biography o f Amoghavajra or other related texts. One sentence in the introductory paragraph of the text states: “The abridged yoga-text (of the Vajrasekhara sutra) was explained and handed down by someone who was initiated in India.” The author of the above text, therefore, could have been the master of Vajrabodhi, i.e. Nagabodhi, and also that he could have been one of the authors of the STTS. Nakamura Hajime {Indian Buddhism, pp. 323-324) maintains that the STTS appeared in South India later than the Mahavairocana sutra and Nagabodhi of South India is said to be its author or at least the one who completed it.


Buddhism declined in India, there lived a bhadanta.66 First of all, this bhadanta recited the mantras of Mahavairocana, whereupon the Buddha Vairocana appeared to him, manifested in his Body and in many of his Bodies. Then, in the sky (Vairocana) explained die doctrines and verses of this (Vajrasekhara sutra). Next, (Vairocana) induced the bhadanta to write them down. As soon as they were completely written down, Vairocana disappeared. (These doctrines and verses) formed a single volume which became known as ‘The Secret of the Recitation-Method of

Vairocana’. Through reciting the mantras, the bhadanta hoped to open the stupa. He circumambulated the stupa for seven days while reciting mantras. Then, he knocked at the gate of the stupa with seven white mustard seeds, and at last it opened. However, all the guardians inside the stupa were furious and prevented him from entering it. He glanced inside the stupa, which was filled with brightly lit lamps and contained various flowers, jewels and gems. He also heard sounds of praise for this sutra-king. It was then that the bhadanta sincerely repented for his sins and made a great vow (to save all living beings). It was only then that he was allowed to enter into the stupa. As soon as he entered, the stupa closed. Although it seemed to him that he was there for a short time, he spent several days and nights in the stupa praising an


extensive version (Vajrasekhara sutra consisting of one hundred thousand gathas) of this sutra Adn wholeheartedly. He also obtained teachings from all the Buddhas and Bodhisattvas, and made an effort to memorise them all in order not to forget them. As soon as the bhadanta came out from the stupa, the gate was locked as before. He then wrote down all the teachings from memory and they amounted to one hundred thousand gathas. This siitra became named Vajrasekhara sutra, but the large collection (consisting of countless gathas) inside the stupa which contained the Bodhisattva-/?zta/ca became inaccessible to the world again, although the brightness of the lamps inside the stupa has persisted up until the present time.”67


66. According to the MW (p. 745), the Sanskrit term bhadanta is a term o f respect applied to a Buddhist or a Buddhist mendicant. The BHS (p. 405) translates it as a venerable or reverend person. According to the DoC (p. 88), it is translated as ‘Da-de’ in Chinese, which literally means most virtuous and it is also used either as a title of honour for a Buddha or a title applied to monks in the Vinaya.

67. TSD. Vol. 39, No. 1798, p. 808-1-17-2-14.


Based upon the above story and Vajrabodhi story, the Japanese commentator, Donjaku, states: “There were three versions of the Vajrasekhara sutra inside the iron stupa. The first version was the large collection of the Vajrasekhara sutra, containing countless gathas, whose size was as wide and as long as a bed and whose thickness was approximately fifteen metres; the second was the extensive version consisting of one hundred thousand gathas which was memorised and written down by a bhadanta', the third was an abridged version consisting o f four thousand gathas which was brought into China by Vajrabodhi.” (TSD. Vol. 61, No. 2225, pp. 123-2-13-124-1-5).


The above legend provides two pieces of useful information. Firstly, the majority of Japanese scholars argue that the STTS, which is regarded as a part of the Vajrasekhara sutra, originated in Southern India. In addition, the commentator Sakyamitra is said to have also learned the doctrines of the STTS at Konkana and Sahya in Southern India. Thus, Southern India might have been die place where the STTS originated and where there was a teaching centre which propagated the doctrine of the STTS. Secondly, the Sanskrit term bhadanta (Chinese Da-de) is a


general term of respect which is given to honoured Buddhist mendicants and not a proper name. According to the commentary of Donjaku,69 Vajrabodhi states: “After the death of the Buddha, there was one bhadanta called Nagarjuna.70 He received According to Adrian Snodgrass in The Matrix and Diamond World Mandalas in Shingon Buddhism (pp. 111~113), based upon modem Japanese scholarly works such as Toganoo Shoun's Mandara no kenkyu, there are several interpretations of the above legend in Japan. According to Snodgrass, "Some Shingon scholars take the story literally and identify the iron stupa with some actual Southern Indian stupa such as Amaravati, or they interpret it as an illusion created by the divine powers o f Mahavairocana. A more traditional view sees the story as an expression in symbolic form of the descending stages in the revelation of

Awakening. Mahavairocana personifies perfected Buddhahood as it abides immutable, absolute, unconditioned and self-contained within its own nature in the Diamond World ( Vajra-dhatu). The stupa, as the samaya-form of Mahavairocana, equates to his Dharma Body; it embodies the Awakening that is innate within the mind of living beings. The bhadanta's entry into the iron stupa is the realisation of this innate Bodhicitta (Thought of Enlightenment); it is the revelation of his fundamental and inherent Buddha-Nature. The gate

of the stupa represents the obstacles of ignorance, delusion and passion that obstruct the realisation o f one's innate Buddhahood. The bhadanta's circumambulation of the stupa is a performance of meditational rituals. The seven white mustard seeds which he used to knock at the gate o f the stupa are the seeds of the Bodhicitta which, cultivated by the practice of ritual, grow to perfected Buddhahood; his entry into the stupa is a merging with the Dharma Body

of the Tathagata, and his re-emergence from the stupa is his return to the state of ‘fundamental Awakening’, the state in which Awakening is once more innate within his mind. According to a complementary interpretation, the bhadanta's entry into the iron stupa refers to esoteric meditational practices, in which the sadhaka visualises a symbol (in this case the stupa) and draws it into his mind, where he merges it with his body: i.e., he literally incorporates the symbol. The bhadanta's entry into the iron stupa is a meditational visualisation of this order. The iron stupa is the stupa of the Dharma World (Dhannadhdtu), created as an illusion by the divine power of Mahavairocana and used by the bhadanta as am object of meditation in order to gain the Knowledge of the Universal Dharma World. Having attained this Knowledge in samadhi, the bhadanta recorded it in the esoteric sutras


6S. Matsunaga Yukei, Mikkyo no Reldshi, p 68.

69. TSD. Vol. 61, No. 2225, p. 126-2-12-15.

70. According to the available information in the STTS and the Prajnaparamita sutras, both texts were discovered by Nagarjuna. According to Taranatha {History o f Buddhism in India, p. 110), Nagarjuna lived for either five hundred and twenty-nine years or five hundred and seventy-one years. However, modem scholars, such as David S. Ruegg {The Literature o f the Madhyamaka School o f Philosophy in India, pp. 4-9; pp. 104-108), argue that there were two Nagarjuna. The first was bom in South-Central India perhaps in the second century and was the founder of the Madhyamaka school which is closely related with the Prajnaparamita sutras and the Madhyamika Sastra text. The second was a tantric master, the arya Nagarjuna,

who lived in the seventh century. He probably composed the Bodhicitta-vivarana, the commentary on the Guhyasamaja (the Tantratika) and the Pahcalcrama. Benoytosh Bhattacharyya (An Introduction to Buddhist Esoterism, pp. 62-68) also asserts that the tantric Nagarjuna (645 CE) was a disciple of the early tantric master, Sahara (633 CE).


the consecration and empowerment of Sattva, memorised the secret doctrine, and then proclaimed it to all human beings.” We can also infer from the next story who could have been regarded as the bhadanta.


“At the age of thirty-one (702 CE), Vajrabodhi went to Southern India where he met Nagabodhi who was seven hundred years old and a disciple of Nagarjuna. Although seven hundred years old, Nagabodhi looked young. Vajrabodhi attended on Nagabodhi as his master for seven years and learned from him the

Vajrasekhara Yoga sutra, the doctrine of Vairocana-dharani, the Mahayana sutras and the five sciences (pahca-vidya). Then he received the fivefold consecration (panca-abhiseka)71 and could understand completely all the esoteric doctrines of Buddhism. After this, he returned to Central India.”72


Basing their studies on this story, scholars such as Nakamura Hajime 73 and Hirakawa Akira assert that the first version of the STTS was composed around 680-690 CE. This story has also generated a tradition among Japanese tantric Buddhists that the doctrine of tantric Buddhism was transmitted from Mahavairocana to Vajrasattva, and then in sequence through Nagarjuna to Nagabodhi, Vajrabodhi, Amoghavajra and so forth. Following the Japanese tantric tradition, we can assume that Nagarjuna, the master of Nagabodhi might in fact


have been the bhadanta mentioned in the above account. The Japanese commentator Kukai also asserts that both the Vajrasekhara sutra (the STTS) and the Mahavairocana sutra found or seen within the iron stupa were memorised and written down by Nagarjuna. Donjaku also recognises it as a fact that Nagarjuna opened the iron stupa, and was initiated by Vajrasattva personally while inside the stupa 76 However, the Nagarjuna referred to by these scholars must be the second tantric Nagarjuna who lived in the seventh century. Concerning the age of Nagabodhi, there are two possibilities. The above text reads


“At the age of thirty-one, Vajrabodhi went to Southern India, where he met Nagabodhi who was seven hundred years old and a disciple of Nagarjuna. Although Nagabodhi was seven hundred years old, he looked young.”


7h The Sanskrit term pahca-abhiselca means consecrations of the five families of the Vajradhatu, which consist of Buddha-, Vajra-, Padma-, Ratna- and Karma -families.


72. Zhen-yuan-xin-ding-shi-jiao-mu-lu. (TSD. Vol. 55, No. 2157, p. 875-2-9-14). This paragraph was also translated into English by Chou Yi-liang. (“[[Tantrism] in China]]”, Harvard Journal o f Asiatic Studies, Vol. 8, Appendix F, pp. 313-314).


73. Nakamura Hajime, Indian Buddhism, p. 324.

74. Hirakawa Akira, “Buddhist Literature', Survey of Texts”, The Encyclopaedia of Religion, Vol.

2, pp. 504-529.

75. TSD. Vol. 61, No. 2222, p. 7-1-8-10.

76. TSD. Vol. 61, No. 2225, p. 120-3-12-26; p. 126-1-20-28.


The first possibility is that the biographer made a mistake and recorded Nagabodhi as being seven hundred years old instead of seventy years old because he confused the tantric Nagarjuna who lived in the seventh century with the Madhyamaka Nagarjuna who lived perhaps in the second century because there is no Sanskrit or Tibetan record mentioning the fact that Nagabodhi lived for seven hundred years unlike Nagarjuna whose age is recorded in some texts as six or seven hundred years. It seems that there probably existed two Nagabodhis just as there existed two Nagarjuna; the first Nagabodhi was a disciple of tire first Madhyamaka Nagarjuna and the second Nagabodhi was a disciple of the second tantric Nagarjuna.


Concerning the biography of Nagabodhi, Taranatha mentions that “Nagabodhi was bom into a brahman family of Bharigala in the east. He became a disciple of the acharya Nagarjuna, received ordination, and became a master of the three pitakas. He served the acharya Nagarjuna for as long as Nagarjuna lived. After the death of his master, he sat in a deep cave and as a result of concentrated meditation for twelve years, he attained the mahamudra siddhi. He had two different names, Nagabodhi and Nagabuddhi (alias Nagamati).”77 According to ’Gos lo-tsa-ba, the acharya Nagarjuna who was a disciple of Saraha had four chief disciples, namely, Satyamitra, Aryadeva, Nagabodhi and Candrakirti.78 According to Bu-ston, Nagabodhi composed the Guhyasamaja-mandala-vidhi, the Panca-krama-tika and many other works


The second possibility is that the biographer recorded the age of Nagabodhi as seven hundred years old purposely in order to establish the origin of the STTS within Mahayana Buddhism and to attribute the authority of their doctrine to Nagarjuna who lived in the second century. David S. Ruegg argues “The Indo- Tibetan records frequently identify some tantric masters, namely, the arya Nagarjuna, Nagabodhi, Candrakirti-pada, Aryadeva-pada and (later) Shantideva, with the illustrious teachers of the earlier Madhyamaka school whose names they bore, and to whom these records accordingly ascribe extraordinarily long life-spans. However, at the same time, these records often differentiate very clearly between distinct phases in these masters' teachings—such as the so-called Sutra-system and Mantra-system—-so that the identification of these masters did not in fact necessarily result in confusion by the doxographers of distinct doctrines.”80 Finally, there is another story which explains why Vajrabodhi did not succeed in bringing the whole of the Vajrasekhara sutra into China.


Vajrabodhi said: ‘Having started from South India, I was sailing via the South Sea in a fleet of approximately thirty large ships. On


77. Taranatha, History o f Buddhism in India, p. 127.

7S. George N. Roerich (trs.), The Blue Annals, pp. 359~360.

-f 79. Bu-ston, History o f Buddhism, Part II, p. 132.

80. David Seyfort Ruegg, The Literature o f the Madhyamaka School o f Philosophy in India, p. 106.


each ship there were some five or six hundred people. One day, while those ships were crossing the ocean, they met with high winds. All the ships, along with the people on board, began to sink into the sea, and the ship on which I found myself also appeared to be sinking. In those days, I always carried the collections of the two basic sutras (the Mahavairocana and Vajrasekhara sutras) near me so as to be able to retain and worship the Buddha's teaching. However, the Captain of the ship,


thinking that at any moment the ship would go completely under, ordered everyone on board to throw everything into the sea. In that instant, I was very frightened and forgot to hold onto the sutratexts. Therefore, (the Vajrasekhara sutra consisting of) one hundred thousand gathas was thrown into the sea, and only its abridged version remained on board. Then, in my mind, I decided to perform the propitiatory rite (santika) in my mind whereupon the high winds stopped. ... Subsequently, I arrived in China.’”


If we accept the above story as a plausible fact, we could assume that the whole of the Vajrasekhara sutra was already composed before Vajrabodhi arrival in China. On the other hand if further compilations were still in progress in India, Vajrabodhi could not have carried the whole text to China. Thus, Amoghavajra visited Ceylon and India in order to search for the entire text in accordance with die will of Vajrabodhi.


It is a well known pattern in Buddhist history that whenever new doctrines distinct from the existing doctrines were established, their founders introduced appropriate legends or stories in order to avoid having their doctrines regarded as heterodox and also in order to establish their authority. There was no exception in the case of the Yoga-Tantra. As the doctrine of the Yoga-Tantra developed on the basis of the Madhyamika and Yogacara doctrines, the Yoga-Tantra Buddhists hied to present their doctrine as an expanded form of Mahayana Buddhism having the same authority as Mahayana Buddhism. Having accepted the theory of the Buddha Bodies, they attributed the origin of their doctrine to Sakyamuni Buddha as Vairocana.


6. General Structure of the Sarva Tathagata Tattva Samgraha


The structure of the STTS is explained in the first section of the OEA VS and the Dou-bu-tuo-luo-ni-muA2 These two texts, translated into Chinese by Amoghavajra, provide similar expositions of the structure and basic content of the STTS. The structural analysis given in these two works is correlated with the basic structure of the Sanskrit and Tibetan versions of the STTS.

The OEA VS reads

81. Jin-gang-ding-jing-da-yu-qie-mi-mi-xin-di-ja-men-yi-jue, TSD. Vol. 39, No. 1798, p. 808-2- 15-25.

82. TSD. Vol. 18, No. 903, pp. 898-3-1-900-1-19.


"The first assembly is called King of the Ordinance of the Compendium of Truth of All the Tathagatas. It comprises four main parts which are called:-

1. Vajradhatu (Fh/ra-sphere),


2. Trilokavijaya (Conquest of the Three Worlds),

3. Sakala-jagad-vinaya (Conversion of the Entire World),

4. Sarva-artha-siddhi (Universal Success).

These four parts manifest the four knowledge-w?wt/ras (catur jnana-mudra) f ’87 As already discussed, the first assembly of the OEA VS refers to the STTS in its currently known format, and its title as given in the OEA VS may be reconstructed into Sanskrit as Sarva-tathagata-tattva-samgraha-kalpa-rdja. The title as given in the Sanskrit version is Sarva-tathagata-tattva-samgraha ndma Mahayana-sutra. As it can be seen instead of the words kalpa-raja, the Sanskrit title has Mahayana Sutra. However, the words kalpa-raja are included in the titles of the first four parts of the Sanskrit version. As already discussed above, the Sanskrit version comprises the following five parts

I. Sarva-tathagata-mahdydndbhisamaya ndma Mahd-kalpa-rdja.

II. Sarva-tathagata-vajra-samaya ndma Mahd-kalpa-rdja.

III. Sarva-tathagata-dharma-samaya ndma Mahd-kalpa-rdja.

IV. Sarva-tathagata-karma-samaya ndma Maha-kalpa-rdja.

V. Tantra, Uttara-tantra and Anuttara-tantra of the Sarva Tathagata-tattva-samgraha ndma Mahayana-sutra.89


The title of the first part in the OEAVS refers to part one of the Sanskrit version which is divided into five chapters. The title of this part as given in the OEAVS is Vajradhatu while in the Sanskrit version the title of part one is King o f the Great Ordinance Called Mahayana Realisation o f All the Tathagatas. The title given in the OEAVS appears to be clearly derived from the first chapter of the Sanskrit version, which in fact constitutes the major portion of part one, and which deals with Vajradhatu Mahamandala. The next three chapters in the Sanskrit version

83. Vajradhatu-mandala: S. part one, pp. 3-152, T. pp. 218-239-2-8, C2. pp. 341-369-2-22.

84. Trailokyavijaya-mandala: S. part two, pp. 153-313, T. pp. 239-2-8-254-4-2, C2. pp. 369-3- 1-399-1-2.

85. Sakalajagadvinaya-mandala: S. part three, pp. 314-381, T. pp. 254-4-2-261-1-7, C2. pp. 399-1-3-411-3-21.

86. Sarvarthasiddhi-mandala: S. part four, pp. 382-434, T. pp. 261-1-8-266-3-3, C2. pp. 411-3- 22-423-1-14.

87. TSD. Vol. 18, No. 869, p. 284-3-16-19.


88. According to David Snellgrove, the term raja is often added to the titles of major tantras. The term kalpa is clearly used in the same sense as in the last of the six Veddngas, namely as ‘that which lays down the ritual and prescribed rules for ceremonial and sacrificial acts’. (David Snellgrove, Sarva-Tathagata-Tattva-Samgraha, Introduction, pp. 7-9). 89. See the contents of Yamada Isshi (ed.), Sarva-Tathagata-Tattva-Samgraha Ndma Mahayana-Sutra. Concerning the title of part five of the STTS, David Snellgrove omits ‘ Tantra, Uttaratantra and Anuttara-tantra'. (David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 7).


deal with Hie rites relating to Vajra Guhya Vajra Mandala, Vajrayana Dharma Mandala and Vajrakaya Karma Mandala. The fifth and final chapter of part one serves as an epilogue.

The title of the second part as given in the OEAVS refers to part two of the Sanskrit version which in the Sanskrit version is called [[King of the Great Ordinance Called Vajra-Pledge of All the Tathagatas]]. Part two of the Sanskrit version is divided into nine chapters. The name of this part as given in the OEA VS broadly corresponds to the name of chapter 6 in the Sanskrit edition, which is ‘Extensive Rites of the Great Mandala of the Conquest of the Three Worlds'. The third part of the OEA VS refers to part three of hie Sanskrit version which is called King of the Great Ordinance Called Dharma-Pledge of All the Tathagatas. Like in the previous parts, the name of this part as given in the OEAVS broadly corresponds to the name of the initial chapter (marked as 15th) of part three in the Sanskrit edition, which is called Extensive Rites of the Great Mandala of the Conversion of the Entire World.


Finally, the fourth part of the OEA VS refers to part four of the Sanskrit version. Once again, its title corresponds to the initial chapter (marked as 19th) of part four of the Sanskrit version. The title of part four of hie Sanskrit version is given as King o f the Great Ordinance Called Karma-Pledge o f All the Tathagatas, and the title of its initial chapter as Extensive Rites o f the Great Mandala o f the Universal Success.

The OEAVS does not refer to part five of the Sanskrit version as an independent part because, as already discussed, this part of the Sanskrit text is considered as a subordinate part in that it contains no main mandala and related rituals, but explains the secret methods of the various attainments corresponding to the four families, i.e. Tathagata, Vajra, Padma and Mani (or Ratna).

The Doihbu-tuo-luo-ni-mu explains the structure and content of the STTS in the following way:-

“The Fundamental Sutra of Yoga consists of one hundred thousand gathas and eighteen assemblies. The first assembly is called The Compendium of Truth of All the Tathagatas. This siitra explains the five families, namely, the Buddha-family whose Head is the Buddha Vairocana, the Vajra-family whose Head is the Buddha Akshobhya, the Ratna-family whose Head is the Buddha Ratnasambhava, the Padma-family whose Head is the Buddha Amitabha and the Karma-family whose Head is the Buddha Amoghasiddhi. The Head of each of the five families has a retinue of four Bodhisattvas. They are positioned to the front, right, left and rear (of each Head). Each of the four Internal Offerings belongs to (each of) the four families according to a specific order which needs to be known. (Each of) the four External Offerings also belongs to (each of) the four families. (Each of) the four Guardians, namely, Ahkusa, Pasa, Sphota and


Avesa (belongs to each of) the four families according to a specific order which needs to be known. In the four directions, there are the sixteen Maha Bodhisattvas of Bhadra Kalpa? They manifest all the Bodhisattvas of the Bhadra Kalpa. There are also five groups of deities on the outside (of the mandala). Each group consists of four gods and their consorts. Thus, all together there are twenty gods and their consorts. The five groups of deities consist of the four gods (and their consorts) living in the upper-spheres, the four gods (and their consorts) living in space (akdsa-cara), the four gods (and their consorts) wandering in space (antariksa-cara), the four gods (and their consorts) living on the earth, and the four gods (and their consorts) living beneath the earth.

There are four mandalas in the Yoga-family. The first is the Vajradhatu, the second is the Trailokyavijaya, the third is the Sakalajagadvinaya and the fourth is die Sarvarthasiddhi. These four mandalas manifest the four Knowledge-Bodhisattvas inside the Buddha Vairocana, namely, Vajra, Abhiseka, Padma and Karma (respectively). These are regarded as the four Knowledges, namely, Mirror-like-Wisdom (ddarsajhdna), Equality-Wisdom (samatajhdna), Discriminating-Wisdom (pratyaveksandjhdna) and the Active-Wisdom (krtyanusthanajndna). Furthermore, each of the (main) mandalas establishes six mandalas, i.e.mahamandala, samaya-mandala, dharma-mandala, karma-mandala,

catur-mudra-mandala and eka-mudra-mandala. It is only Trailokyavijaya-mandala that contains ten mandalas', (each of) the other (three main) mandalas contains six mandalas. All the mudras and all the essential factors of the Dharma are completely included in the four Knowledge-mudra. Maha-jndna mudra refers to the attainment of the sva-deva-yoga by means of the five abhisambodhi. Samaya-jnana-mudra refers to the attainment of the mudrd generated from the vajra-bandha (vajrabond) by means of joining both hands. Dharma-jnana-mudra refers to the seed-syllable (bija) of the sva-deva, the samadhi of the Dharmakaya and the meaning of the letters of all the sutras. Karma-jnana-mudra refers to the making of vajra-musti (vajrafist) with both hands as if firmly holding a weapon and pennant, and to the holding of the body in a dignified posture. In addition, there are four kinds of eyes in Yoga, namely, the Dharma Eye which indicates subjugation (vashikaran), the

According to the BUS (p. 406), the term Bhadrakalpa means ‘a kalpa such as the present in which five Buddhas are to appear (four, from Krakucchanda to Sakyamuni, and the fifth, Maitreya)’.

91. The four kinds of eyes in this context indicate the four kinds of homa rites, namely, subjugation (vashikaran), attraction (alcarsana), destruction (abhikram) and pacification (santika). However, according to the [[Sarva] Durgati Parisodhana tantra]], the four kinds of


Effulgent Eye which indicates attraction (akarshana), the Wrathful Eye which indicates destruction (abhisarika) and the Compassionate Eye which indicates pacification (santika)” Taking into account the information provided above, the classification of the first four parts of the Sanskrit STTS is based on the four knowledge-mudras or four families. However, the division of the OEAVS is dependent on the four mandalas. In addition, David Snellgrove subdivides the second part of the STTS into two sections: Trailokyavijaya and Triloka Chakra,93 Though the OEAVS explains the additional four mandalas connected with Triloka Chakra in the second part, it uses only Trailokyavijaya as the title of the second part.

As Amoghavajra has pointed out above, the first four parts of the STTS entitled according to the names of the mandalas correspond to the following four knowledge-mudras respectively: Great-knowledge-mudra (maha-jnana-mudra), Pledge-knowledge-mudra samanya-jnana-mudra), Dharma-knowledge-mudra dharma-jnana-mudra) and Action-knowledge-ra Ad karma-jnana-mudra). In addition, they are also closely connected with the four families, i.e. die Tathagata family, the Vajra-family, the Dharma or Lotus {Padma)-family and die Action {Karma) or Gem {Ratna or Mam)-family. Donjaku also asserts that the first four parts of the STTS correspond to the Buddha-family, the Vajra-family, the Lotus family and the Gem-family and in the homa rites, they respectively relate to


pacification {santika), destruction {abhisarika), subjugation (vashikaran) and acquisition of prosperity {paustika).94 The first part of the STTS shows ways of subduing the Tathagata-family, whose presiding Buddha is Vairocana, the second part shows ways of subduing the Vajra-family, whose presiding Buddha is Aksobhya, the third part shows ways of subduing the Lotus-family, whose presiding Buddha is Amitabha 95 and the fourth part shows ways of subduing the homa rites consist of pacification, acquisition of prosperity (paustika), subjugation and destruction. (Tadeusz Skorupski, Sarva Durgati Parisodhana Tantra, pp. 68-72). According to the Vajrasekhara Yoga Homa Vidhi (Chinese Jin-gang-ding-yu-qie-hu-mo-yi-gid) translated into Chinese by Amoghavajra (TSD. Vol. 18, No. 908, pp. 916-920-2-16; No. 909, pp. 920-2-17-924-3-9), there are five kinds of homa rites, i.e. pacification, acquisition of prosperity, destruction, attraction and subjugation.

According to the Mikltyo Jiten (ed. Sawa Ryuken, p. 367), there are four groups of homa rites. In addition to the above mentioned two groups of homa rites, there are two more groups. There is one group of three kinds of homa rites which consist o f pacification, acquisition of prosperity and destruction. There is a second group of six kinds of homa rites which consist of pacification, acquisition of prosperity, subjugation, destruction, attraction and longevity.

92. TSD. Vol. 18, No. 903, pp. 898-3-7-899-1-8.

93. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 11. Trailokyavijaya-mandala: S. part two (pp. 153-252): Triloka Ch'a-mandala: S. part two (pp. 253-313). Though David Snellgrove subdivides the second part into two sections, Mkhas Grub- rje division is the same as Amoghavajra. (F.D. Lessing and Alex Wayman (trs.),


Introduction to the Buddhist Tantric Systems, p. 217).

94. TSD. Vol. 61, No. 2225, p. 157-1-12-25.

95. Sanskrit STTS employs the term ‘Lokesvararaja’ (S. p. 10, p. 45, p. 49, p. 53) or ‘Amitayus

(S. p. 64, p. 89, p. 101, p. 117, p. 131, p. 143, p. 333, p. 334) instead of ‘Amitabha’. The


Gem-family, whose presiding Buddha is Ratnasambhava. The STTS only describes four families, although there are actually five families. The presiding Buddha of the Action-family is Amoghasiddhi. David Snellgrove asserts that the difference between the four families and the regular five families is caused by the amalgamation of both die Gem-family and the Action-family. This probably goes back to an earlier stage of the development of Buddha-families, which began as three, namely, the Tathagata-family, the Fo/ra-family and the Lotus-family, and which only later became five.96

According to Amoghavajra division, each of the four parts contains six mandalas but exceptionally the second part has ten mandalas which include six mandalas connected with the Trailokyavijaya and four mandalas connected with the Triloka Chakra. The first four mandalas in each part of the STTS also seem to relate to the four knowledge-mnc/ras1. Thus, based on the four knowledge-mudras', the titles of the first four mandalas should respectively be maha-mandala, samaya mandala (alias dharani-mandala), dharma-mandala and karma-mandala. The other two mandalas are catur-mudra-mandala and eka-mudra-mandala. Each of the maha-mandalas occupies the first position in each of the four parts. However, the maha-mandala of the Vajradhatu is regarded as the most important because all the other mandalas are dependent on it.


7. Mandala derived from the Sarva Tathagata Tattva Samgraha


Three different types of mandala are known to be derived from the STTS. The first mandala, which is regarded as the earliest, is found on a scroll called [[Li-duoseng- nie-luo-wu-bu-xin-guan]] (Japanese Ri-ta-so-gya-ri-go-bu-shin-kan),91 which translates into English as ‘[[Meditation on the Five Families of the Rta-samgraha’. In the title of this scroll, the Chinese term Li-duo-seng-nie-luo (Japanese Ri-ta-so-gyari) is a transliteration of the Sanskrit term ‘Rta-samgraha’ (Compendium of Truth), which, as Lokesh Chandra 98 points out, indicates Tattva-Samgraha, that is, the STTS text, while the Chinese term wu-bu (Japanese go-bu) means the five families,

i.e. Tathagata-, Vajra-, Ratna-, Padma- and Karma-families .

The Gobushinkan (i.e. Chinese versions translate ‘Lokesvara Raja’ as ‘Avalokitesvara Raja’. Both ‘Amitabha’ and ‘Amitayus’ are interchangeable, and according to the Miklcyo Jiten (ed. Sawa Ryuken, p. 13), Avalokitesvara Raja is the alias of Amitabha. In his footnote on p. 45 of his edition of the STTS, Yamada Isshi states that Lokesvara was an epithet of Siva. In Buddhism, the Tathagata Lokesvara Raja is the Buddha Teacher of Dharmakara. The latter, due to his Pranidhana, becomes the Tathagata Amitabha (or Amitayus) in the Sukhavati Buddhaksetra. However, Avalokitesvara is one o f two Bodhisattvas who works under Amitabha and who succeeds him after Amitabha's Nirvana.

96. David Snellgrove, Sarva-Tathagata-Tattva-Samgraha, Introduction, p. 12. 97. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 73~148; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhatu Mandala, pp. 54~346; Toganoo Shoun, Kongochokyo no Kenltyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 154~453. 98. Lokesh Chandra, A Ninth Century Scroll o f the Vajradhatu Mandala, pp. 7—13.


Ri-ta-s5-gya-ri-go-bu-shin-kan), several copies of which are extant in Japan," was originally brought from China by Japanese monk Enchin (814-891 CE), who had received it in 855 CE from the monk Fa-quan during his stay in China between 853 and 858 CE.100 The Gobushinkcin consists of six mandalas, which correspond to the six mandalas of the Vajradhatu described in the Sanskrit STTS, and contains the four mudras of the deities, i.e. the bodily images of the deities holding symbols (representing maha-mudras), the hand gestures (representing samaya-mudras and karma-mudras), and the mantras (representing dharma-mudras), Thus, the most important rituals explained in the first part of the Sanskrit STTS are illustrated in the Gobushinkan. In addition, as it includes his portrait at the end, the Gobushinkan is closely connected with Subhakara Simha (637-735 CE),101 who arrived in China in 716 CE and together with the monk Yi-xing (d. 727 CE) translated into Chinese the Mahavairocana sutra.102

The second mandala called Jin-gang-jie-jiu-hui-da-man-tu-luo,m (Great Mandala of the Nine Assemblies of the Vajradhatu) was brought from China to Japan in 806 CE by the Japanese monk Kukai (774-835 CE), the founder of the Japanese Shingon sect. Several copies of the Nine Assemblies Mandala 104 which consists of nine squares are also extant in Japan. The first assembly, the Vajradhatu- maha-mandala (ch. 1 of the STTS), is positioned in the centre. Out of the other eight mandalas which surround the Vajra-dhatu-maha-mandala, the second assembly, the Vajra-guhya-vajra-mandala (ch. 2) is positioned in the lower middle, the third the Vajra-jhana-dharma-mandala (ch. 3) in the lower-left, the

Ibid., pp. 16-18.

I0°. Sawa Ryuken (ed.), Miklcyo Jiten, pp. 55-56 & p. 224.

101. Ibid., p. 440.


102. Mahavairocana sutra is an abbreviated title derived from the Sino-Japanese tradition. It is called Vairocana-abhisambodhi-tantra by the Indo-Tibetan tradition. Its fullest form, found in the catalogues of the Tibetan canon, is Mana Vairocana-abhisambodhi-vilcurvataadhisthdna- vaipulya-sutra~indra-raja-nama-dharma-paryaya.

103. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 887-1004.

104. Two mandalas have been regarded as the most important mandalas in Japanese Shingon tradition, namely, the Garbhakosadhdtu-mandala, which is derived from the Mahavairocana sutra, and the Vajradhatu-mandala, i.e., Nine Assemblies Mandala, which is derived from the STTS. These two, known in Japanese as genzu, or ‘iconographic’ mandalas, were allegedly transmitted from India to China in the eighth century. The Garbhakosadhdtu-mandala consists of twelve courts. A central divinity is the cosmic Vairocana, whose essential quality is ‘principle’. The various other deities represent the fragmentation o f this central unity. The Vajradhatu-mandala consists of a group o f nine individual mandalas. The central assembly represents the Buddha's function to enlighten. The central divinity is the cosmic Vairocana, who in this mandala represents ‘knowledge’. (E. Dale Saunders, “Mandalas; Buddhist Mandalas”, The Encyclopaedia o f Religion, Vol. .9, pp. 155-158. In this article, Dale Saunders makes an error, because he states that the Garbhadhatu-mandala represents ‘knowledge’ and the Vajradhatu Mandala represents ‘principle’. From the above this should be in reverse.) One of the main differences between the Garbhakosadhdtu-mandala and the Vajradhatu-mandala is that the former consists of three families, i.e. Tathagata-family, Vajra-family and Lotus-family, and the latter consists of five families, i.e. Tathagata-family, Vajra-family, Lotus-family, Gem-family and Action family-.


fourth the Vajra-karya-karma-mandala (ch. 4 ).in the middle-left, the fifth the Vajra-siddhi-catur-mudra-mandala (ch. 5-A) in the upper-left, the sixth the [[Ekamudra- mandala]] or Mahaydnabhisamayamandala (ch. 5-B) in the upper-middle, the seventh the Naya-mandala in the upper-right, the eighth the [[Triloka-vijayamahd- mandala]] (ch. 6) in the middle-right, and the ninth the [[Krodha-guhyamudrd- mandala]] or Triloka-vaijaya-samaya-mandala (ch. 7) positioned in the lower-right. Of these, only the seventh Naya-mandala is not derived from the STTS, but from the Rishulcyd (Chinese Li-qu-jing).

Differing from the above two types of mandala having a characteristic [[Sino- Japanese]] style, the third type of mandala, which is found in the Indo-Tibetan area, has a characteristic Indo-Tibetan style. The specific difference between the Indo- Tibetan mandalas and the Sino-Japanese mandalas is that all the deities face the central Vairocana in the former but face the viewer of the mandala in the latter. In addition, the former has clearly defined doors of the inner enclosure as well as the outer enclosure, but the latter does not have doors. Two similar Vajradhara Mandalas are preserved in the eastern chapel of Chachapuri Monastery (Tshatshapuri Gompa, Ladakh, India), and also four different Vajradhatu Mandala and one Trailokyavijaya-mahamandala (ch. 6 of the STTS) are painted on the walls of Alchi Monastery (Alchi Gompa, Ladakh, India),107 which was built, according to Toganoo Shoun,108 in the time of the Tibetan translator [[Rinchen- bzang-po]] (958~1055 CE). In addition, The Ngor Collection,109 which consists of one hundred and thirty-nine Tibetan mandalas painted in the nineteenth century, also includes two mandalas derived from the STTS, i.e. Vajradhatu-mehndi mandala and Triloka Vijaya-mahamandala, each of which consists of thirty-seven deities and one thousand Bhadra Kalpa Bodhisattvas.

105. David Snellgrove Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 13) regards the eighth as the Triloka-vijaya-karma-mandala.

106. Lokesh Chandra, A Ninth Century Scroll o f the Vajradhatu Mandala, pp. 24~25.

107. The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council of Religious Affairs of His Holiness the Dalai Lama, pp. 213~214.

108. Toganoo Shoun, Mandara no kenlcyu, pp. 201~203.

109. bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II, Kodansha Ltd., Kyoto, Japan, 1983.


Mahayana Realisation of All the Tathagatas


The first part of this study provides a detailed analysis of the structure and content of part one of the STTS. The analysis as given below is based on the relevant sections of both the first assembly in Amoghavajra OEA VS1 and the introductory section in Anandagarbha's Tattvaloka as indicated in the footnotes, and on a detailed study, with extensive quotations, of the Sanskrit, Tibetan and Chinese versions of the STTS. Part one of the Sanskrit STTS is divided into five chapters, four of which provide expositions of four different mandalas and related rituals, and chapter 5 deals with the perfect realisation of the Mahayana. The names of the four mandalas used as the titles of its first four chapters are Vajradhatu Mahamandala, Vajra Guhya Vajra Mandala, Vajrajnana Dharma Mandala and

Vajrakaya Karma Mandala respectively. Though chapter 5 of the Sanskrit STTS contains some information on two mandalas, i.e. Vajra Siddhi Caturmudr Mandala and Mahay dnabhisamayamandala, it is regarded as an epilogue of part one in that the two mandalas are employed for the purpose of the accomplishment of the practices which have already been explained in the previous four chapters. Therefore, it does not use the term mandala in its title. However, according to Amoghavajra, part one comprises six mandalas j i.e. Vajradhatu Mahamandala, Dharma Mandala, Suksma Vajra Mandala, Sarvatathdgatavistara Puja Karma Mandala, Caturmudrdmandala and Ekamudramandala. Anandagarbha also classifies part one as consisting of six mandalas, i.e. Vajradhatu Mahamandala, Dharani Mandala, Dharma Mandala, Karma Mandala, Caturmudrdmandala and Ekamudramandala. Concerning the classification of the six mandalas, the only difference between the Sanskrit STTS and Amoghavajra (or Anandagarbha) is that the former regards the last two mandalas as subordinate mandalas but the latter regards them as main mandalas.

f OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-9-286-1-25.

2. TTP. Vol. 71, No. 3333, pp. 134-147-1-7.

3. OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-19.

Part One


Chapter 1. Vajradhatu Mahamandala


The first mandala is called the maha-mandala of the Vajradhatu. Amoghavajra provides the following outline of this chapter:- “(This section of the tantra) describes the Enjoyment-body (sambhoga-kdya) of the Buddha Vairocana, who has attained complete enlightenment (samyak-sambodhi) by means of the five consecutive stages of perfect enlightenment 4 (panca abhisambodhi). 5 Having become a Buddha, he generated the thirty-seven knowledges through the vajra-samadhi.6 The text extensively explains the rites of the mandala.1 For the benefit of the pupil, the text sets forth the speedy-attainment 8 of both the Bodhisattva-fr/mmi and the Buddha-6/mmz'.”

The structural analysis provided by Anandagarbha is more detailed than that of Amoghavajra and it directly relates to specific passages of the Sanskrit text of the STTS. At the beginning of his commentary, the Tattvaloka, he outlines the general structure of the entire tantra, and then he proceeds to explain in detail the structure and basic content of the individual parts. According to Ananda Garba, the introductory scene (Tibetan glenggzhi) which opens with the words, “Thus have I heard”10 teaches die nature of Vairocana and Mahavairocana and the excellent

qualities which benefit oneself and others. It is enunciated so that the trainees should generate expectations towards the nature of the characteristics of Vairocana and Mahavairocana and the excellent qualities which benefit oneself and others. In order to induce the realisation of the nature of Vairocana and Mahavairocana in those trainees who have generated such expectations, the rest of the tantra's text, starting with the words, “Then this Buddha-field (became replete just like the husks of sesame seeds) with all the Tathagatas”11 and concluding with the words, “The 4 According to a footnote in the OEAVS, the five stages are: ‘perceiving the mind’, ‘raising the thought of enlightenment (bodhi-cittaY, ‘perfecting the vq/Va-thought’, ‘realising the vajra body’,

and ‘perfecting the Buddha-body’. Such are the perfections of the five knowledges.

5. S. pp. 7-9, T. pp. 219-4-2-220-2-1, C l. pp. 207-3-8-208-1-24, C2. pp. 341-3-18-342-2-12. 6. S. pp. 10-58, T. pp. 220-2-1-228-4-6, C l. pp. 208-1-24-216-1-9, C2. pp. 342-2-13-351-2-


7. S. pp. 63-72, T. pp. 229-2-6-230-4-8, C l. pp. 216-3-21-219-1-15, C2. pp. 352-2-8-354-2- 27. 8. S. pp. 73-99, T. pp. 230-4-8-233-4-3, Cl. pp. 219-1-15-223-2-21, C2. pp. 354-2-28-359-2- 19.

9. OEAVS, TSD. Vol. 18, No. 869, p. 284-3-20-24.


There are ten Bodhisattva-Bhumis which are as follows:-


Pramudita (Joyful), Vimala (Pure), Prabhakari (Illuminating), Arcismatl (Radiant), Sudurjayd (Very-difficult-to-conquer), Abhimulcht (Face to face), Durahgama (Far-going), Acald (Immovable), Sadhumatl (Stage of the good Beings) and Dharmamegha (Cloud of the Doctrine). The eleventh Bhumi is not a Bodhisattva-Bhumi but a Tathagata-Bhumi (Stage of a Buddha). (Har Dayal, The Bodhisattva Doctrine in Buddhist Sansh'it Literature, chapter six). 10. evam mayd srutam: S. p. 3-2, T. p. 218-3, C l. p. 207-1-9, C2. p. 341-1-8. V atha sarvatathdgatair idam buddhalcsetram (tadyathd tilabimbam iva paripurnam); S. p. 7- 2 -3 , T. p. 219-4-3-4, Cl.'p. 207-3-9, C2. p. 341-3-19-20.


Lord enunciated those words”12 teaches the expedients (updya) and the realisation of their nature. In it there are taught the categories of the expedients among which there are also samadhis which truly serve as expedients.13 After this outline of the general structure of the tantra, Anand Garba proceeds to provide a detailed analysis of specific sections and shows how they fit together. 7, Introductory Scene: Nature o f Vairocana and Mahavairocana As already stated above, the introductory scene unveils the nature of Vairocana and Mahavairocana. The STTS opens in the traditional manner employed in the Buddhist scriptures with the words

“Thus have I heard,14 at one time, the Lord was staying in the abode of the king of the Akanistha gods.”

Concerning the word T , Japanese commentators such as Donjaku assert that since Vajrapani (alias Vajrasattva)16 himself heard the doctrines of the STTS directly from Mahavairocana and since the STTS text was assembled by Vajrapani, T in this context should be regarded as Vajrapani.17 Anandagarbha also states that the STTS was thoroughly understood, assembled and explained by Vajradhara residing in the tenth bhumi.18 In this context, ‘at one time’19 indicates ‘a time’ just before the Tattvaloka reads: “Then this Buddha-field of all the Tathagatas”.

12. idam avocad bhagavdn: S. p. 562-8, T. p. 283-1-8, C2. p. 445-1-26.

13. Tattvaloka, TTP. Vol. 71, No. 3333, p. 135-1-6-2-5.

14. The Sanskrit and Chinese versions start with these words, but the Tibetan version prefixes one sentence before it, i.e., “I bow before the Buddha and all the Bodhisattvas.”

15. Tibetan reads: “the great compassionate Lord Vairocana”, but Chinese 2 reads: “the Lord Tathagata Mahavairocana”.

16. In the STTS, the three names, for example, Vajrasattva, Vajrapani and Vajradhara, ate employed interchangeably because all of them can be regarded as being the same, even if all o f them have slightly different literal meanings. With regard to these three names, David Snellgrove (Indo-Tibetan Buddhism, p. 131) states:-

“The highest state of all, in which all Buddha-emanations ultimately dissolve and yet continually reemerge, is the Adamantine Being (Vajrasattva) and thus it is defined as Vajra, meaning diamond or thunderbolt. As the weapon of the Vedic god, Indra, transferred to the yaksa (local divinity) who acts as escort to Sakyamuni in the earlier Buddhist period, ‘thunderbolt’ might suggest itself as a convenient translation. Precisely as the wielder of this weapon this chief of yaksas, known as Vajrapani (Thunderbolt-in-Hand), appears as chief of Boddhisattvas in several tantras, for he has become the holder of the supreme symbol of this whole latter phase of Buddhism. He is also referred to as Vajradhara (Thunderbolt-Holder) and with this name becomes the supreme Buddha of tantric traditions. He may also be acclaimed as Vajrasattva (Thunderbolt-Being), but this is more logically understood as a general appellation of the highest state of tantric being, a term formed on the analogy of Bodhisattva.”

17. TSD. Vol. 61, No. 2225, pp. 162-3-10-164-1-24.

Donjaku also asserts: “Mahavairocana is the speaker and Vajrapani is the listener. Since Vajrapani is Vairocana, Vajrapani's listening means Mahavairocana listening to himself.”


(TSD. Vol. 61, No. 2225, pp. 125-3-4-126-1-19).

1S. Tattvaloka, TTP. Vol. 71, No. 3333, p. 147-1-7-2-1.


19. Based upon Mkhas-grub-ije’s analysis, we can see that in relation to Sakyamuni’s life, there are two different opinions concerning the time at which the STTS was proclaimed. The first theory maintained by Sakyamitra and Buddhaguhya is that while the historical Sakyamuni's


historical Sakyamuni's perfect enlightenment. This is because the STTS text begins with the moment of Sakyamuni engaging in the imperturbable concentration (asphanaka-scimadhita) as an endeavour for enlightenment on the bodhi-manda and it ends with his returning from Mount Sumeru to Bodhgaya after his complete enlightenment. Indian and Japanese commentators say that the term ‘Lord’ (bhagavari) is an epithet given to one who conquers the four evils (mara), namely, afflictions (klesa), aggregates (skandha), death (mrtyu) and demigod (devaputra). The term ‘Lord’ in this context indicates the great compassionate (maha-krpo) Vairocana.20 With regard to the abode of the king of the Akanistha gods,21 the Japanese commentator, Ennin (793-864 CE) comments that the Akanistha heaven is not the uppermost heaven (out of the seventeen heavens belonging to) the realm of form (mpa-dhdtu), one of the three lands of existence, but that it is the splendid thought-palace of the great innate thought of enlightenment (maha-bodhi-citta) existing in the heart of Mahavairocana.22

Since the concept of Vairocana has been introduced in Yoga-tantra, the ultimate goal described in the STTS is to attain perfect enlightenment by means of obtaining tire five Wisdoms as the virtues of Vairocana. It is for this reason that in its maturation body {vipaka-Myd) as Bodhisattva Sarvarthasiddhi stayed on the bank of the Nairanjana River, his mental body (manomaya-lcaya) was guided to the Akanistha heaven by the assembled Buddhas of all the ten directions, and after completing the pancha abhisambodhi, he became a Buddha as the Sambhoga-kdya of Mahavairocana, after which he proceeded to the summit of Mt. Sumeru and pronounced the STTS. He then proceeded to the world of men and re-entered his maturation body on the bank of the Nairanjana. The second theory maintained by Anand Garba is that the STTS was pronounced when Sakyamuni was a Bodhisattva of the tenth stage in his last life. It seems that the first theory is the literal interpretation based upon the STTS text itself but the second theory is a philosophical and logical interpretation. (F.D. Lessing and

Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp. 27-29). 20. Danapala's Chinese translation reads ‘Tathagata Mahavairocana’ instead of *maha-Icrpo Vairocana’.

21. STTS describes the abode of the king of the Akanistha gods at the time o f Vairocana’s residing in it in the following words:-

“It was attended, honoured and blessed by all the Tathagatas. It was studded with great jewels and gems, and adorned with hanging bells of various colours, with wind-fluttering silk pennants, wreaths, chowries, garlands, necklaces and moons. It was attended by ninety-nine million Bodhisattvas along with the leading Bodhisattvas, namely, Vajrapani, Avalokitesvara, Akasagarbha, Vajramushti,

Manjusri, Sahabat Otpada-dharma cakraravartin, Gaganaganja and Sarvamarabalapramardin, and it was also attended by Tathagatas as numerous as the grains of sand in the river Ganges. It was so crowded with countless Tathagatas that they resembled sesame seeds on Jambudvipa. In addition to this, there appeared countless and immeasurable Buddha-fields {buddha-kshsetra) from the body of every individual Tathagata, and in these Buddha-fields, the Tathagatas were explaining this very Dharma-doctrine.”

(S. pp. 3-9~4-6, T. p. 219-1-1-7, Cl. p. 207-1-15-26, C2. p. 341-1-14-27). 22. TSD. Vol. 61, No. 2223, p. 14-2-9-11.


introductory part, the STTS explains the constituents of the virtues of Vairocana and Mahavairocana. First of all, the virtues of Vairocana 23 are as follows:- “(a) The Lord was endowed 24 with various distinctive kinds of knowledge of the pledges (,samaya)25 and the va/ra-empowerment (yajra-adhisthana) of all the Tathagatas. (b) He was bestowed with the 26consecration27 of the Dharma Sovereignty over the three worlds by means of the gem-diadem of all the Tathagatas.

(c) He was the great yoga-lord of the omniscient knowledge of all the Tathagatas.

(d) He was the accomplished one in the sameness of all mudras 30 of all the Tathagatas and the fulfiller of all wishes of the entire and complete sphere of living beings by means of all possible endeavours.

(e) He was the great compassionate Vairocana 31 perpetually persisting in the three times,32 the Tathagata 33 and the complete Body, Speech and Mind Vajra”3

Regarding the above descriptions of the virtues of Vairocana, Japanese commentators 35 such as Donjaku state that the above five paragraphs refer to the five Wisdoms 36 and to the five Buddhas as the personifications of the virtues of


23. The passages of the STTS which explain the virtues of Vairocana and the names of the chief Bodhisattvas are very similar to the opening section of Chinese Li-qu-jing (Japanese Ri-shu- Icyo) which is regarded as the sixth assembly of the Vajrasekhara sutra, Cf. Ian Astley- Kristensen, The Ri-shu-lcyo, pp. 39-40.

24. Chinese 1 reads: “accomplished”.

25. The Sanskrit term samaya literally means ‘coming together’. In Buddhist tantric understanding, the term samaya becomes a ‘pledge’ of a ‘coming together’ of the divinity with the image that represents him, the sacrificial offering that ‘embodies’ him, or with the yogin or even the faithful worshipper who is one-pointedly intent upon him. (David Snellgrove, Indo-Tibetan Buddhism, pp 165-166).


26. Chinese 2 inserts: “highest”.

27. Tibetan reads: “consecration-power” (dbang bshtr ba mnga).

28. Chinese 2 inserts: “extraordinary”.

29. Chinese 2 reads: “the great lord of union” (sampradayikta).

30. Chinese 2 reads: “all knowledge-mudras”.

31. Chinese 2 omits: “Vairocana”.

32. The Sanskrit reads: “at the time (samaya) of the three time-period”.

33. Chinese 2 omits: “Tathagata”.

34 S. p. 3-2-8, T. pp. 218-3-219-1-1, C l. p. 207-1-9-15, C2. p. 341-1-8-14.

Tibetan reads: “the Tathagata whose complete Body, Speech and Mind were transformed into a Vajra".

35. Concerning the relationship between the five Wisdoms and the five Buddhas in the STTS, the opinions of Japanese commentators, led by Kukai, seem to be influenced by certain relevant texts o f the STTS mostly compiled and translated by Amoghavajra.

36. Tantrdrthdvatara-vyakhydna, a commentary by Padmavajra on Buddhaguhya's Tantrarthdvatdra, gives the following explanation of the five Wisdoms:- “Mirror-like-Wisdom is the higher cognition that appearances are devoid of intrinsic nature, Equality-Wisdom is the higher cognition that makes no distinction between oneself and others, Discriminating-Wisdom is the higher cognition that is devoid of intrinsic nature, Active-Wisdom is that which aims to benefit without differentiating


Vairocana. Paragraph


(a) indicates Mirror-like-Wisdom and the character of Aksobhya who is positioned to the east of Vairocana in the maha-mandala of the Vajradhatu, paragraph

(b) indicates Equality-Wisdom and the character of Ratnasambhava who is positioned to the south of Vairocana, paragraph

(c) indicates Discriminating-Wisdom and the character of Amitabha who is positioned to the west of Vairocana, paragraph (d) indicates Active-Wisdom and the character of Amoghasiddhi who is positioned to the north of Vairocana, and finally paragraph


(e) indicates Pure-Absolute-Wisdom and the character of Vairocana who is positioned in the centre of the maha-mandala of the Vajradhatu,38 Tire fifth Pure- Absolute-Wisdom, different from the other four Wisdoms, is the supreme Wisdom and seems to be attained as the result of an accumulation of the other four Wisdoms. With regard to the relationship between the four Wisdoms and the four Buddhas, Amoghavajra states that the four Buddhas are generated from the four Wisdoms.39 Concerning the above passage, Ananda Garbh 40 states that paragraph

(a) explains the perfect comprehension of the Tathagata-family and the knowledge of pledges, paragraph

(b) explains the perfect comprehension of the Gem-family and the attainment of the consecrations, paragraph

(c) explains the perfect, comprehension of the Lotus-family and the transformation into the great yoga-lord by means of the attainment of the perfection of wisdom, paragraph (d) explains the perfect comprehension of the Action 41-family and the perfection of all other goals. between oneself and others, and Pure-Absolute-Wisdom is the location of the realm of the other four Wisdoms as well as their object.”

(F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, p. 222, footnote).

37. According to the Mildtyo Jiten (ed. Sawa Ryuken, pp. 220~221), only four Wisdoms are explained in exoteric Buddhist teachings, but in esoteric Buddhist teachings, Pure-Absolute- Wisdom is added as the virtue of Mahavairocana and it is regarded as the ultimate Wisdom including the characteristics of the other four Wisdoms. The Vajradhatu-mandala is also said to be established on the basis of these five Wisdoms. In relation to the theory of consciousness, Pure-Absolute-Wisdom (dharmadhdtusvabhdvajnana) as Mahavairocana is transformed and realised through the ninth pure-consciousness (amalavijhana), Mirror-like- Wisdom (adarsajhdna) as Aksobhya is transformed and realised through the eighth store consciousness (alayavijnana), Equality-Wisdom (samajhna) as Ratnasambhava is transformed and realised through the seventh ego-consciousness (klista-manas), Discriminating-Wisdom (pratyavelcsanajhdna) as Amitabha is transformed and realised through the sixth mental-consciousness (manovijnana), and Active-Wisdom (krtydnusthanajfidna) as Amoghasiddhi is transformed and realised through the five sense consciousnesses.

3S. TSD. Vol. 61, No. 2225, pp. 165-2-28-173-3-8.

Donjaku states that Vairocana abides in the Gate of Universal Dharmadhatu while sitting on the Lion-seat, Aksobhya abides in the Gate of Enlightenment-thought {bodhicitta) while sitting on the Elephant-seat, Ratnasambhava abides in the Gate of Blessed-viitues (punya) while sitting on the Horse-seat, Amitabha abides in the Gate of Wisdom while sitting on the Peacock-seat, and Amoghasiddhi abides in the Gate of Action (virya) while sitting on the Garuda-seat.

(TSD. Vol. 61, No. 2225, p. 121-1-4-10).

39. Lue-shu-jin-gang-ding-yu-qie-fen-bie-sheng-wei-xiu-zheng-j'a-men, TSD. Vol. 18, No. 870, p.

288-2-21. This text was translated by Amoghavajra.

40 Tattvaloka, TTP. Vol. 71, No. 3333, p. 147-3-4-5-3.

41. Ibid., p. 147-4-8. The wordAction’ seems to be missing.


Vairocana in paragraph (e) means the one who becomes completely illuminated by means of the families such as the Tathagata-family and acquires power. The STTS depicts the natures of Mahavairocana as follows:- “(f) Then the Lord 42 Mahavairocana, while perpetually abiding in the sphere of the entire space with his Body, Speech and Mind, became transformed into a Vajra.

(g) Due to his union43 with all the Tathagatas, he was the knowledge-being that enlightened the entire Vajradhatu, and the knowledge-embryo issued from the vq/ra-empowerments as numerous as infinite particles of dust in all regions of space. (h) On account of the infinity of all the Tathagatas, he was the consecration-gem of the great vq/ra-knowledge,44 and the perfectly enlightened one with the completely comprehending knowledge of suchness (tathata) that penetrates the entire space.

(i) On account of the pure self-nature of all the Tathagatas, he was the one with all his dharmas pure by nature,45 and the pinnacle of conduct that converts the entire and complete sphere of living beings through the knowledge that beholds all forms diffused in the entire space

(j) By means of executing the efficacious orders of all the Tathagatas, he was the performer of the incomparable and highest deeds.”

With regard to Vairocana and Mahavairocana, when we consider the above paragraphs (e) and (f), we can see that there is similarity between them in the sense that both of them transcend time. However, they also slightly differ in the sense that Vairocana has spatial limitations because he is considered as having a bodily form, i.e., an Enjoyment-body (sambhoga-kdya) and because he abides in the Akanistha


42. Both Chinese versions insert: “Tathagata”.

43. Tibetan reads: “through the penetration into the sameness”.

44. Tibetan reads: “the great consecration-gem of the great va/ra-knowledge-gem”.

45. Tibetan reads: "the accomplished one with the pure nature of all dharmas”.

46. Tibetan reads: “in all spheres (dhdtu) of space”.

47. S. p. 4-7-16, T. p. 219-1-7-2-5, Cl. p. 207-1-26-2-7, C2. p. 341-2-1-10.

Chinese 1 reads: “the universal and highest knowledge”.


Regarding the above quotations about the nature of Mahavairocana, the translation of Chinese 2 is slightly different from the other versions:-


“Then the Lord Tathagata Mahavairocana, due to his union with all the Tathagatas, universally abided in the sphere of the entire space with his Body, Speech and Mind transformed into a Vajra. On account of the infinity of all the Tathagatas, he became the knowledge-great being that enlightened the entire Vajradhatu. He cultivated the knowledge-embryo issued from the vq/ra-empowerments as numerous as infinite particles of dust in all regions of space. He established the great consecration-gem of the great vq/'ra-knowledge. He was the perfectly enlightened one with the completely embracing knowledge of suchness that penetrates entire space. Since the self-nature of the bodies of all the Tathagatas is pure, the self-nature of all dharmas is pure. By means of executing the efficacious orders of all the Tathagatas, he manifested all his forms diffused in entire space; he became the pinnacle o f all the conducts that subdue completely all the realms of living beings; he completely performed the various incomparable and highest deeds.”


heaven. In contrast, Mahavairocana as Dharma-body is pervasive in the sphere of the entire space and abides in the hearts of all the Tathagatas. Anand Garba maintains that the essence of the five Tathagatas 1 Bodies which became fully enlightened in the abode of Akanistha, becomes Vairocana. On the other hand, Mahavairocana is the one who is endowed with the qualities of the beginningless and endless Dharmadhatu which in turn through the nature (of the five Tathagatas' Bodies) becomes the cause Qietu) of generating the non-dual thought and the virtues (sila) of Vairocana, Vajrasattva and the rest, arisen from that (non-dual) thought.48 However, Sakyamitra49 regards Vairocana as the Body of Appearance (rupa-kaya). On the basis of the STTS text, firstly, he defines the abode of the king of the Akanistha gods as having the characteristic of the perfect equality of cause and effect (nisyanda). Secondly, the aim of Vairocana is to bestow the enjoyment of the Dharma upon the Bodhisattvas generated inside deity’s family. Finally, Vairocana is considered as possessing and generating the splendid essence of absolute pure knowledge as the equality of cause and effect (nisyanda) through the body which has fully matured according to die five consecutive stages of perfect enlightenment (pahca-abhisambodhi). In addition, he defines Mahavairocana in the following way:-

Mahavairocana is endowed with the nature of wisdom, becomes completely delivered from the defilement known as afflictions (klesa), and shows and accomplishes the splendid and pure essence of all the substances.”

The above paragraphs (g), (h), (i) and (j) individually correspond to paragraphs (a), (b), (c) and (d) respectively, in connection with the four Wisdoms.50 Paragraphs (g), (h), (i) and (j) show the characteristics of the four Paramita Bodhisattvas who epitomise the nature of Mahavairocana, and who closely surround Mahavairocana on the maha-mandala of the Vajradhdtu. Amoghavajra maintains that the four Paramita Bodhisattvas are generated from the four Tathagatas' Wisdoms and become the Mothers who generate and raise all the Honoured Ones and Sages of the three times.51 Donjaku also states that the four Buddhas emerge from the four Wisdoms, and the four Buddha Wisdoms issue forth the four Paramitas,52 Paragraph (g) indicates that Vajra-paramita emerges from Mirror-like-Wisdom and is positioned to die east of Mahavairocana, paragraph (h) indicates that Ratnaparamita emerges from Equality-Wisdom and is positioned to the south of Mahavairocana, paragraph (i) indicates that Dharma-paramita emerges from Discriminating-Wisdom and is positioned to the west of Mahavairocana, and


48. Tattvaloka, TTP. Vol. 71, No. 3333, p. 148-4-5-7.

49. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 193-5-4-8.

50 TSD. Vol. 61, No. 2223, pp. 28-3-24-30-2-8.

51. Jin-gang-ding-yu-qie-san-shi-qi-zun-chu-sheng-yi, TSD. Vol. 18, No. 872, p. 298-1-21-22.

This text was translated by Amoghavajra. 52. TSD. Vol. 61, No. 2225, p. 185-2-25-28.


paragraph (j) indicates that Karma-paramita emerges from Active-Wisdom and is positioned to the north of Mahavairocana. However, Sakyamitra maintains that paragraphs (g), (h), (i) and (j) indicate the essences of the four main Bodhisattvas out of the sixteen Mahabodhisattvas, i.e. Vajrasattva, Vajraratna, Vajradharma and Vajrakarma. Furthermore, all the Tathagatas in this context indicate the Buddhas and Bodhisattvas as explained in the mandala of the Vajradhdtu.5'5


2. Three Samadhis


According to Anandagarbha, the section starting with the words, “Then this Buddha-field (became replete just lilce the husks of sesame seeds) with all the Tathagatas”54 and ending with the words, “the Buddhas became merged into one”,55 provides an exposition of the three samddhis, namely, the initial yoga, the supreme mandala-king, and the supreme action-king. Anandagarbha states that those who possess the pledges and consecrations should follow this expedient.56 The first samadhi called the initial yoga (adiyoga-samddhi) corresponds to the five abhisambodhis in the STTS. The exposition of these five abhisambodhis is a

kind of preparatory stage for visualising the deities. Their detailed description is given only once in the introductory part of the maha-mandala of the Vajradhdtu in tire STTS. The initial yogas of all the other mandalas are essentially based on this method. The second samadhi, called the supreme mandala-king (mandalaparamaraja- samddhi), is the main stage of visualising and blessing the deities. The practitioner has to visualise and summon the deities together with the appropriate mantras and mudras. In the STTS, most of the mantras used for this second samadhi contain the names which indicate the deities to be assembled. The third samadhi called the supreme action-king {karmaparamardja-samddhi) is the last stage of the threefold samadhi. It empowers the deities which have been assembled and blessed.


a. Five Abhisambodhis


As Anandagarbha points out above, the purpose of the STTS is to enable the sddhaka (practitioner) to realise the nature of Vairocana and Mahavairocana. Consequently, the STTS explains the five abhisambodhis which Sakyamuni received and experienced in the Almnistha abode:-


“The Lord Mahabodhicitta Mahabodhisattva Samantabhadra resided in the hearts of all the Tathagatas. As a result, that Buddhafield became replete with all the Tathagatas just like the husks of sesame seeds. Then, all the Tathagatas gathered together in a great


53. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 194-1-4-5-2.

54. at ha sarvatathagatair idam buddhalcsetram (tadyatha tilabimbam iva paripurnam): S. p. 7-

2-3, T. p. 219-4-3-4, Cl.'p. 207-3-9, C2. p. 341-3-19-20.

Tattvalolca reads: “Then this Buddha-field of all the Tathagatas”.

55. buddhd hy ekatvam dgata iti: S. p. 60-9-10, T. p. 228-5-8, C l. p. 216-2-3, C2. p. 351-3-10. 56. Tattvaloka, TTP. Vol. 71, No. 3333, p. 135-2-5-7.


conclave and approached the place where the Bodhisattva Mahasattva57 Sarvarthasiddhi58 was seated on the spot of enlightenment (bodhi-manda).59 On arrival, they revealed themselves before the Bodhisattva in their sambhoga-kdyas, and said: ‘O noble son, how will you gain the highest and complete enlightenment, while attempting all these difficult tasks without knowing the true nature60 of all the Tathagatas?’61 Then, the Bodhisattva Mahasattva Sarvarthasiddhi, being admonished by all the Tathagatas, abandoned the imperturbable concentration (.dsphanaka-samadhi),62 bowed down before all the Tathagatas and said: £0 Lord Tathagatas, please instruct me about the essence of that nature63 and how I should accomplish it.’

(k) Upon this being said, all the Tathagatas spoke with one voice to the Bodhisattva: ‘O noble son, accomplish it64 through the meditation that discerns your mind and by reciting at will this selfperfected mantra: OM CITTA-PRATIVEDHAM KAROMl

(I penetrate the mind.)’ Then, the Bodhisattva65 said this to all the Tathagatas: ‘O Lord Tathagatas, just as instructed, I perceive in my heart the form of a 66lunar disc.’ All the Tathagatas replied: ‘O noble son, this mind is luminous by nature. When it is acted upon,67 so it becomes, just as a white garment stained with dye.’ (1) Then, once again, in order to augment the knowledge of the naturally luminous mind, all the Tathagatas directed the Bodhisattva68 to raise the thought of enlightenment (bodhi-cittd) with this self-perfected mantra: ‘OM BODHI-CITTAM


57. Chinese 2 omits: “Mahasattva”.

58. Ennin states that the Bodhisattva Mahasattva Sarvarthasiddhi indicates Vajrasattva. (TSD.

Vol. 61, No. 2223, p. 34-1-1-2).

59. Concerning the position of the bodhi-manda, following the opinion of Anandagarbha, bodhimanda is a certain place located in the Akanistha heaven. However, the STTS text reads: “The Buddha Sakyamuni having become completely enlightened, approached his Seat of Enlightenment (bodhi-manda) under the Bodhi-tree from the summit of Mount Sumeru.” (S. p. 556). Therefore, according to the STTS, the bodhi-manda must be located at Buddhagaya where the historical Sakyamuni attained enlightenment.

60. Chinese 2 reads: “the true knowledge and patience”. 61. Chinese 2 inserts: “Therefore, now you should raise the brave mind, and do what you have

62. Sakyamitra states in Kosalalamkara that Siddhartha had difficulties in becoming a Buddha by means of the four dhyanas because the asphanaka-samadhi is a state of total isolation in which the bodily and mental activities are suspended. By entering such a meditation, he became completely isolated and consequently unable to pursue activities for the benefit of other living beings. This was the chief reason why Siddhartha failed in his efforts and was awakened from his meditation. (Tadeusz Skorupski, Saltyamuni's Enlightenment according to the Yoga Tantra, p. 90; Kosalalamkara, TTP. Vol. 70, No. 3326, p. 198-4-5-8).

63. Chinese 2 reads: “the true knowledge and patience”.

64. Chinese 2 reads: “the true patience”.

65. Tibetan adds: “Sarvarthasiddhi”.

66. Chinese 2 inserts: “pure”.

67. Tibetan reads: “As it is cleansed”.

6S. Tibetan reads: “Mahabodhisattva”. to.”


UTPADAYAMI.

(I raise the thought of enlightenment.)’ Then, once again, having raised the thought of enlightenment just as instructed by all the Tathagatas, the Bodhisattva said69: ‘That form, I truly see it as a lunar disc.’70 All the Tathagatas said: ‘The essence of all the Tathagatas has become manifested in you as the Samantabhadra thought of enlightenment. You should duly attain it.

(m) In order to stabilise71 the production of that thought as Samantabhadra of all the Tathagatas, you should envisage a vajraform on the 72lunar disc inside your heart by means of this mantra: OMTISTHA VAJRA, (Abide vajraX)'

(n) The Bodhisattva spoke up73: ‘O Lord Tathagatas, I behold a vajra74 on the 75lunar disc.’ All the Tathagatas replied: ‘Make firm this thought-76vq/ra as Samantabhadra of all the Tathagatas with this mantra: OM VAJRATMAKO ’HAM. (I am of the vajranature.)’ Then all the 77Fa/'ra-elements of the Body, Speech and Mind of all the Tathagatas abiding throughout the whole of space penetrated that being-vq/ra with the empowerment of all the Tathagatas. Next, all the Tathagatas consecrated that Lord Mahabodhisattva78 Sarvarthasiddhi with the vajra-nameconsecration, 79 saying: ‘Vajradhatu, Vajradhatu.’

(o) Then, the Mahabodhisattva80 Vajradhatu said this to all the Tathagatas: ‘0 Lord Tathagatas, I perceive81 myself as the Body82 of all the Tathagatas.’ All the Tathagatas replied: ‘Consequently, O Mahasattva, you should envisage yourself, the being-vajra, as a Buddha-form endowed with all the most excellent forms,83 reciting at will this self-perfected mantra: OM YATHA SARVATATHAGATAS TATHAHAM. (I am just as all the Tathagatas are.)’


69 Chinese 2 adds: “to all the Tathagatas”.

70. Chinese 2 reads: “O Lord Tathagatas, that form of a pure lunar disc, I also see it as a pure lunar disc inside my heart.”

71. Chinese 1 adds: “like a diamond”.

72. Chinese 2 inserts: “pure”.

73. Chinese 2 adds: “all the Tathagatas”.

74. Chinese 2 reads: “a subtle vajra form”.

75. Chinese 2 inserts: “pure”.

76. Chinese 2 inserts: “true”.

77. Chinese 2 inserts: “great”.

7S. Chinese 1 reads: “Bodhisattva Mahasattva”.

79. Tibetan omits: “vajra” and “consecration”.

Chinese 2 reads: “the vajra-great-consecration”.


80. Tibetan omits: “Mahd” and Chinese 1 reads: “Bodhisattva Mahasattva”.

81. Tibetan inserts: “duly”.

82. Tibetan reads: “Dharma-Body” and Chinese 1 omits: “Body”.

83. Chinese 1 reads: “Consequently, O Mahasattva, all the being-va/ras have been endowed with all the most excellent forms, and you should envisage yourself as a Buddha-form. Chinese 2 reads: “O Mahasattva, the being-vq/ra has been endowed with all the forms, and you should envisage all the Buddha-forms.


Upon this being pronounced, the Mahabodhisattva84 Vajradhatu himself became perfectly enlightened as a Tathagata, and bowing down before all the Tathagatas said this: ‘Bless me, O Lord Tathagatas,85 and make firm this state of enlightenment.’ Once he had said this, all the Tathagatas became infused into the beingvajra of the Tathagata Vajradhatu. Then, at that very moment, the Lord Tathagata86 Vajradhatu became completely awakened to the knowledge of the sameness of all the Tathagatas, penetrating into the secret87 pledge of the 88knowledge-m^/ra89 of the vajra90- sameness of all the Tathagatas,91 and becoming pure by nature in the realisation of the knowledge of the sameness of the Dharma of all the Tathagatas,92 and becoming the repository of the naturally luminous knowledge of the complete93 sameness of all the Tathagatas94 and thus he became a Tathagata, an Arhat and a perfectly enlightened Buddha.”


The above quoted passage constitutes the starting point of the main doctrinal exposition in the STTS. The compiler or author of the STTS seems to have gained his ideas and motives from die historic events of Saltyamuni's life as recorded in the Buddhist Scriptures. Therefore, the STTS starts its story from the moment just before Sakyamuni's enlightenment. According to the Buddhist Scriptures, Sakyamuni used the method of controlled breathing as used in the method of the imperturbable concentration (asphanaka-samadhi)?6 However, despite controlled


84. Chinese 1 reads: “Bodhisattva Mahasattva”.

85. Tibetan reads: “all the Tathagatas”.

86. Chinese 2 omits: “Tathagata” and reads: “Mahabodhisattva”.

87. Chinese 1 omits: “secret”.

88. Chinese 2 inserts: “supreme”.

89. Chinese 1 omits: “mudra”,

90. Chinese 1 omits: “vajra”.

91. Tibetan adds: “he penetrated the secret pledge of the knowledge-mwtfr'a o f the sameness of the vayra-jewel-consecration of all the Tathagatas”.

92. Both Chinese versions read: “he realised that the knowledge of the sameness of the Dharma of all the Tathagatas is pure by nature”.

93. Chinese 1 omits: “complete”.

94. Chinese 2 reads: “he accomplished the naturally luminous knowledge of the complete sameness of all the Tathagatas”.

95. S. pp. 7-1-10-6, T. pp. 219-4-2-220-2-5, Cl. pp. 207-3-8-208-1-28, C2. pp. 341-3-18-342- 2-18.


Ennin asserts that the last section of the above quotations contains the five Wisdoms resulting form the five abhisambodhis. He says:-

“The knowledge of the sameness of all the Tathagatas is Mirror-like-Wisdom, the secret pledge of the knowledge-mwcfra of the va/ra-sameness of all the Tathagatas is Equality-Wisdom, the knowledge of the sameness of the Dharma of all the Tathagatas is Discriminating-Wisdom and the naturally luminous knowledge of the complete sameness of all the Tathagatas is Active-Wisdom.”


(TSD. Vol. 61, No. 2223, pp. 36-1-29-37-1-8).

96. Concerning the asphanaka-samadhi, the STTS contains a negative opinion. In contrast, the Recitation-sutra, (TSD. Vol. 18, No. 866, pp. 223-2-22-253-3-10) which has been regarded as the earliest version containing some elements of the STTS, accepts the asphanaka-samadhi


breathing and fasting, he could not attain enlightenment, so he used a new method which had not been previously used by any ascetic.97 Thus, the author of the STTS is suggesting that the five abhisambodhis represent a new method of spiritual exercise which was used and performed by Sakyamuni for achieving enlightenment.

The method of the five abhisambodhis of the STTS is a major contribution to Tantric Buddhism. The five abhisambodhis are the most effective expedient established in Yoga-Tantra Buddhism to attain perfect enlightenment, and the five stages constitute the direct ways of obtaining the five Wisdoms as the virtues of Vairocana. Therefore, paragraphs (k), (1), (m), (n) and (o) correspond to the above paragraphs (a), (b), (c), (d) and (e) respectively. Donjaku states that the mantras of the five abhisambodhis indicate the samddhis of the five Buddhas.98 Mkhas-grubtje states that the first abhisambodhi, which is paragraph (lc), is called Revelation- Enlightenment resulting from Discrimination (pratyaveksand), the second abhisambodhi, which is paragraph (1), is called Revelation-Enlightenment resulting from the resolve for the highest enlightenment (paramabodhicittotpada), the third abhisambodhi, which is paragraph (m), is called Revelation-Enlightenment resulting from the firm thunderbolt (drdha-vajra), the fourth abhisambodhi, which is paragraph (n), is called Revelation-Enlightenment resulting from thunderbolt as the preparatory ritual before performing the five abhisambodhis. The term asphanakasamadhi is described twice in the Recitation-sutra:-

(i) “For the benefit of converting innumerable living beings, the dhdrani-holdev should perform the asphanaka-samadhi. Then, the method of entering into samadhi is explained. One who wishes to enter into samadhi should not move his body, legs or arms, should close the lips and teeth together, should close the eyes and should think of the Buddha-image. If one wishes to enter into samadhi, one should think: ‘All the Buddhas are diffused in the entire space resembling oily sesame seeds on the ground. The body and mind should be gloriously adorned in this way.”’ (TSD. Vol. 18, No. 866, p. 226-2-7-12).

(ii) “One should enter into contemplation, and stop breathing in and out. At first, depending on dnapana (mindfulness of breathing) yoga, one should direct the mind to (breathing) and cultivate (the mind). Then, one should not move the body, legs or aims. This method is called asphdnalia-samadhi. The practitioner who has been in 0asphanaka-samadhi) for a long time should visualise his body in space and all the Buddhas diffused in the Dharmadhatu, and the mudra of snapping the fingers makes (him) rise up from his seat. The dharani-holder should think about and listen carefully to what all the Buddhas say: cO noble son, you should gain the highest and complete enlightenment quickly. But, how will you endure and attempt this difficult task without knowing the true nature of all the Tathagatas?’ At this time, having heard the words o f all the Buddhas, in accordance with the appropriate rite, he should come out from samadhi, and bind the mudra of rising up from the seat.” (TSD. Vol. 18, No. 866, p. 237-1-8-16).

97. Edward Thomas states: “From the scriptures, we leam that Gotama first sought instruction under two religious teachers, found them unsatisfying, and for six years practised austerities in the company of five disciples. Then, abandoning his fasting and self-tortures, he thought of a new method of religious exercise and won enlightenment.” (Edward Thomas, The Life o f Buddha as Legend and History, p. 62 and see pp. 61-80 for details of Sakyamuni's enlightenment).

9S. TSD. Vol. 61, No. 2225, p. 126-3-5.


composition (yajrcitmaka) and the fifth abhisambodhi, which is paragraph (o), is called Revelation-Enlightenment resulting from equality with all the Tathagatas (sarvatathagata-samata)." Ennin asserts that the first four stages out of the five abhisambodhis constitute ‘the position of cause5 (i.e., progressive stages to Buddhahood) and the final fifth stage constitutes ‘the position of fruition5 (i.e., Buddhahood).100 Anandagarbha regards the above quotations concerning the five abhisambodhis as the first samadhi called the initial yoga.m Concerning the last section of the above quotations, both Ennin and Donjaku assert that the knowledge of the sameness of all the Tathagatas indicates Mirror-like-Wisdom, the secret pledge of the knowledge-mwr/ra of the vq/ra-sameness of all the Tathagatas indicates Equality-Wisdom, the knowledge of the sameness of the Dharma of all the Tathagatas indicates Discriminating-Wisdom, and the naturally luminous knowledge of the complete sameness of all the Tathagatas indicates Active- Wisdom.102


b. Tathagata Vajradhatu


According to the STTS, after Sakyamuni attained perfect enlightenment through the five abhisambodhis taught by all the Tathagatas manifested in their sambhogakayas, he went to the topmost mansion made of vajras, jewels and gems on the summit of Mount Sumeru together with all the Tathagatas. The STTS reads :- “Then, all the Tathagatas, once again, having emerged from the being -vajra of all the Tathagatas,103 performed the great precious gem-consecration of AkaSagarbha. They generated the dharmaknowledge of Avalokitesvara, and having become established in

the universal activity of all the Tathagatas,104 they went to the topmost mansion made of vajras, jewels and gems on the summit of Mount Sumeru. Having entered it, they empowered the Tathagata Vajradhatu105 in the essence of all the Tathagatas,106 and they placed him on the lion-seat of all the Tathagatas facing towards all directions. Then the Tathagatas Aksobhya, Ratnasambhava, LokeSvararaja107 and Amoghasiddhi empowered themselves in the essence of all the Tathagatas, and sat down " . F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp. 29-35.


100 TSD. Vol. 61, No. 2223, p. 12-1-10-11.

101. Tattvdloka, Vol. 71, No. 3333, p. 155-1-4-5.

102. TSD. Vol. 61, No. 2223, pp. 36-1-29-37-1-8; TSD. Vol. 61, No. 2225, pp. 208-3-2-209-2- 4.

103. Tibetan adds: “they generated the knowledge of the sameness of all the Tathagatas”.

104. Chinese 2 reads: “from the Dharma-knowledge of Avalokitesvara, they generated the various activities”.

105. Ennin asserts that the Tathagata Vajradhatu indicates Vairocana. (TSD. Vol. 61, No. 2223, p. 37-2-29).

106. Tibetan adds: “they became merged together into an indistinguishable union”.

107. Tibetan and both Chinese versions read: “Avalokitesvararaja”.

facing the four directions, upholding thus the sameness of all the directions on account of the Lord Tathagata Sakyamuni's penetration into the universal sameness.”108 Based upon the above quotation and other descriptions in the STTS, Toganoo Shoun maintains:-


“With regard to the Vajradhatu-mandala, at first, the Buddha (Yairocana) revealed it in tire abode of the king of the Akanistha gods for the sake of the Bodhisattvas belonging to the Tenth Stage {bhumi) such as Vajrapani and Avalokitesvara, and then in order to supplement some key points omitted in that assembly, having descended to the summit of Mount Sumeru, he revealed it once again. The Vajradhatu-mandala (explained in the STTS) describes the assemblage of the Buddha (Vairocana), and its style and structure are almost identical with the mandalas revealed in the Akanistha heaven and on the summit of Mount Sumeru.”

In order to support his view that the mandala revealed on the summit of Mount Sumeru is the reproduction of the mandala revealed in Akanistha heaven, he quotes a relevant passage from the commentary of Sakyamitra;- “This mandala (of the Vajradhatu), which comprises a circle of residents accomplishing the fruition of the Buddha and Bodhisattva Dharma, was revealed in the engaging palace of Akanistha heaven. However, (it was also revealed on the summit of Mount Sumeru) in order that (Vairocana) could help those who did not possess the blessing to be able to enter {Akanistha heaven) but could enter (the summit of Mount Sumeru) instead; once they had entered (the summit of Mount Sumeru) and had ripened their intellectual powers gradually and completely, they obtained the blessing to enter {Akanistha heaven).”

In contrast, Ennin asserts: “Sumeru in this context is not the so-called Mount Sumeru, but the name of the seat of Vairocana, which becomes the victorious seat of the Dharmadhatu. Since this place of the Buddha-seat can be compared to a mountain, it is called the summit of Mount Sumeru.”111 David Snellgrove regards the palace of the king of gods in Almnistha heaven as the place understood to be on the summit of Mount Sumeru.112 Donjaku states that Sakyamuni, having attained complete enlightenment in the Akanistha heaven as (the state of) the fourth dhyana, went to the summit of Mount Sumeru in order to turn the wheel of Dharma.113 Sakyamitra states that Sakyamuni having performed all kinds of activity previously in the abode (of the Icing) of the Akanistha gods, went from Akanistha heaven to


108. S. p. 10-7-18, T. p. 220-2-5-3-3, C l. p. 208-1-28-2-8, C2. p. 342-2-19-28.

109. Toganoo Shoun, Mandara no kenkyu, pp. 195-196.

110 Kosaldlamkdra, TTP. Vol. 70, No. 3326, pp. 228-5-8-229-1-2.

1U. TSD. Vol. 61, No. 2223, p. 14-2-19-3-28.

112. David Snellgrove, Indo-Tibetan Buddhism, p. 120.

113. TSD. Vol. 61, No. 2225, p. 209-2-5-3-7.


Sumeru in order to sit on the victorious lion-seat,114 Concerning the last paragraph of the above quotation, he says that a Tathagata who has attained complete enlightenment is endowed with the natures of the four Wisdoms, and the four Wisdoms become the four Buddhas.115


c. Thirty-Seven Deities


The first part of the exposition of Vairocana begins with the explanation of the thirty-seven deities who are generated and manifested through the vctjra-samddhi of Vairocana. In the mandala-ntQ, they are drawn in the mandala, and play a major role for the practitioner, such as providing the supernatural powers and the wisdom of enlightenment. These thirty-seven deities include the five Tathagatas, namely, Vairocana, Aksobhya, Ratnasambhava, Amitabha (or Lokesvararaja) and Amoghasiddhi, die sixteen Mahabodhisattvas116 who are divided into sets of four relating to the Buddha-families,117 the four Paramitas, i.e. Sattvavajri, Ratnavajri, Dharmavajri and Karmavajri, the four Internal Offerings ffiujds), i.e. Vajralasya, Vajramala, Vajragita and Vajranrtya, the four External Offerings, i.e. Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha, and the four Guardians, i.e. Vajrankusa,

Vajrapasa, Vajrasphota and Vajravesa. Among these thirty-seven deities, the four Paramitas and the eight Offerings (four Internal and four External Offerings) are regarded as female deities. The names of the thirty-two deities excluding the five Tathagatas, express the characteristics and functions of the deities. Out of twentyeight mandalas in the STTS, the descriptions of the thirty-two deities appear only in this section that deals with the maha-mandala of the Vajradhatu. The characteristics of these thirty-two deities are explained in the STTS. (1) Four Mahabodhisattvas of the Vajra Family:-

Vajrasattva is ‘Great Thought of Enlightenment {mahabodhicittdy, Vajraraja is ‘Pledge of Attracting all the Tathagatas (sarvatathagatakarsanasamayay, Vajraraga is ‘Knowledge of Delighting all the Tathagatas {sarvatathagata-


114 Kosalalamkara, TTP. Vol. 70, No. 3326, p. 201-3-6-7.

115. Ibid., p. 201-5-3-5.

116. David Snellgrove states that the sixteen Mahabodhisattvas are presented as aspects of Buddhahood, all ultimately arising from Vairocana's mental concentration (samadhi) in its various aspects, as symbolised by sixteen primary Bodhisattvas and they are all conceived of as manifestations of the one Bodhisattva, variously named as Samantabhadra, Vajrapani and Vajradhara. (David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 25).


117. The first group surrounding Aksobhya in the mahd-mandala of the Vajradhatu is Vajrasattva, Vajraraja, Vajraraga and Vajrasadhu; the second group surrounding Ratnasambhava is Vajraratna, Vajratejas, Vajraketu and Vajrahasa; the third group surrounding Amitabha is Vajradharma, Vajratlksna, Vajrahetu and Vajrabhasa; the fourth group surrounding Amoghasiddhi is Vajrakarma, Vajraraksa, Vajrayaksa and Vajrasandhi, Ennin asserts: “The reason that the STTS starts with explaining the samadhis of the four Bodhisattvas surrounding Aksobhya in the east of Vairocana is that the Dharma of all Buddhas at first shines in the east like the Sun rises from the east.” (TSD. Vol. 61, No. 2223, p. 52-1-19-24).


anuraganajnanay and Vajrasadhu is ‘Great Joy (mahdtustty. These are ‘Great Pledge Beings of all the Tathagatas (sarvatathagatamahasamayasattvasy 3 18


(2) Four Mahabodhisattvas of the Ratna Family:- Vajraratna is ‘Great Consecration {mahabhiseka)1, Vajratejas is ‘Fathom Circle of Splendour (vyamaprabhamandala)\ Vajralcetu is ‘Goal of Great Beings119 (jmahasattvdrthay and Vajrahasa is ‘Great Rapture120 (mahdharsa) ’. These are ‘Beings of the Great Consecration of all the Tathagatas (sarvatathagatamahabhisekasattvasy.


(3) Four Mahabodhisattvas of the Dharma Family:-

Vajradharma is ‘Knowledge of Fo/ra-Essence (vajradharmatdjhanay ,122 Vajratlksna is ‘Knowledge of Wisdom of all the Tathagatas (,sarvatathagataprajhdjhdna) V 23 Vajrahetu is ‘Knowledge of Revolving the Great Wheel124 (mahdcakrapravartanajhanay and Vajrabhasa is ‘Knowledge of Non-Diffusion of Speech of all the Tathagatas {sarvatathdgatavdlprapahcavinivartanajhdna)5. These are ‘Great Knowledge Beings of all the Tathagatas (sarvatathagatamahdjndnasattvas)


(4) Four Mahabodhisattvas of the Karma Family:-

Vajrakarma is ‘Activity of Extensive Rites of Worshipping all the Tathagatas (sarvatathagatapujavidhivistarakarmay, Vajraraksa is ‘Strong Armour of Great Heroism126 (mahdviryadrdhakavaca)’, Vajrayaksa is ‘Great Expediency of all the Tathagatas (sarvatathagatamahopayay and Vajrasandhi is ‘Knowledge of 127all the Mudrdsm {sarvamudrdjhand)\ These are ‘Beings of the Great Action of all the Tathagatas {sarvatathdgatamahdkarmasattvasy .m


(5) Four Paramita Bodhisattvas:-


Sattvavajri is ‘Knowledge Pledge of all the Tathagatas (.sarvatathagatajnanasamayay, Ratnavajri is ‘Great Consecration {mahdbhisekd)% Dharmavajri is ‘Vajra Dharmahood (vajradharmatdy and Karmavajri is ‘All Worship (sarvapujay. These are ‘Paramitas of all the Tathagatas {sarvatathagataparam itdp\m ^

118. S. p. 19-1-3, T. p. 222-1-2-3, C l. p. 209-3-13-15, C2. p. 344-2-8-9.

119. Both Chinese versions read: “the Great Goal for Living Beings”.

120. Chinese 1 reads: “the Great Laughter” and Chinese 2 reads: “the Ko/m-Great Laughter”.

121. S. p. 26-10-11, T. p. 223-3-3, C l. p. 211-1-7-8, C2. p, 345-3-14-15.

122 Chinese 1 reads: “the Knowledge-Essence of Vajra-Dharma”, and Chinese 2 reads: “the Knowledge of Vajra-Great Essence”.

123. Chinese 2 omits.

124. Tibetan adds: “of the Dharma

125. S. p. 34-9-11, T. p. 224-5-4-5, C l. p. 212-1-28-2-1, C2. p. 347-2-10-12.

126. Chinese 1 adds: “all the Tathagatas”.

127. Tibetan and Chinese 1 insert: “Binding”.

l2S. Chinese 1 adds: “all the Tathagatas”.

129. S. p. 42-17-19, T. p. 226-2-8-3-1, C l. p. 213-3-12-14, C2. p. 348-3-24-26. 130 S. p. 46-17-18, T. p. 227-1-2-3, C l. p. 214-2-6-7, C2. p. 349-3-4-5.


(6) Eight Goddesses of Offering:-


Vajralasya is ‘Pledge of the Highest Pleasure and Satisfaction of all the Tathagatas {sarvatathdgatdnuttarasukhasaumanasyasamayd)’, Vajramala is ‘Garland of all the Tathagatas (sarvatathagatamala)’, Vajragita is ‘Melody of all the Tathagatas (sarvatathagatagdthdy and Vajranrtya is ‘Highest Performance of Worship131 of all die Tathagatas {sarvatathdgatdnuttarapujakarmakari)\ These are ‘Secret Offerings of all the Tathagatas (sarvatathdgataguhyapujds) ’.

Vajradhupa is ‘Entrance of Knowledge of all the Tathagatas (sarvatathagatajnandvesay, Vajrapuspa is ‘Accumulation133 of Qualities of Great Enlightenment (mahabodhyangasamcaydy, Vajraloka is 'Dharma134 Lamp of all the Tathagatas {sarvatathdgatadharmalokay and Vajragandha is ‘Scent of Moral Conduct, Concentration, Wisdom, Emancipation and Vision of the Knowledge of Emancipation {sttasamddhiprajhavimuktivimulctijhdnadarsanagandhdy. These are ‘Female Servants of all the Tathagatas {sarvatathdgatdjndkdryas) ’.


(7) Four Guardians of the Mandala Gates


Vajrankusa, VajrapaSa, Vajrasphota and Vajravesa are ‘Attracting, Entering, Binding and Subjugating 136all the Tathagatas (sarvatathagatasamdkarsana, pravesa, bandha, vasikaranay respectively. These are ‘Beings who Execute the Orders of all the Tathagatas {sarvatathdgatajhakarasy ,

With regard to the essences of the thirty-seven deities, Sakyamitra explains:- “The Lord Vairocana is endowed with the nature of the Dharmadhatu and becomes the supreme teacher of the lords of the mandala. He induces Samantabhadra and the five Tathagatas such as Aksobhya, consecrates (them) by means of die mudra, the activity of generating sattvas, the samadhi and die power of empowerment, and makes (them) join in the activities.

The Lord Aksobhya is endowed with the nature of Mirror-like- Wisdom and generates mudras and sattvas. The Lord Ratnasambhava is endowed with the nature of Equality-Wisdom and generates {mudras and sattvas). The Lord Amitabha is endowed with the nature of Discriminating-Wisdom and generates {mudras and sattvas). The Lord Amoghasiddhi is endowed with the nature of Active-Wisdom and generates {mudras and sattvas). These (Tathagatas) become induced and are ordered to release mudras by the Lord Vairocana, they are then endowed with the task of generating sattvas. Accordingly, the essences of the five


13 h Chinese 2 omits: “Worship”.

132. S. p. 50-15-17, T. p. 227-3-7-8, C l. p. 214-3-25-27, C2. p. 350-1-24-26.

133. Both Chinese versions read: “Pledge”, instead of “Accumulation”.

134. Chinese 1 omits: “Dharma”.

135. S. p. 54-16-18, T. p. 228-1-6-7, C l. p. 215-2-18-20, C2. p. 350-3-21-23.

136. Both Chinese versions insert: “the Pledge o f ’.

137. S. p. 59-1-2, T. p. 228-4-6, C l. p. 216-1-10-11, C2. p. 351-2-15-17.


Tathagatas become established and placed into the mandala perfectly by the Buddha who consists of the five Dharmas. The first Sattva, that is, the Lord Vajrasattva, is the essence of the thought of enlightenment. Having generated the thought of enlightenment, one should assemble living beings. Therefore, the second Sattva is the essence of the four things of the assemblage and becomes the means of assembling living beings. Having generated the thought of enlightenment and then assembled living beings, one should gratify those living beings. Therefore, the third Sattva becomes the means of gratifying living beings and is the essence of the passion which makes living beings mature and

liberated. One arouses passion in living beings, and after that, one should delight one's spiritual friends in order to make one's mind completely mature which is the Bodhisattva-6/zwmz. Therefore, the fourth Sattva is the essence of making living beings rejoice. These four (Sattvas) are the pledges of those who enter the method of the mantra-pmcticQ concealed by this Mahayana (= the STTS), Therefore, they are called the Pledge-sattvas. There is no other way of becoming a bodhisattva other than by adhering to them. He who says that one should rely on spiritual friends in order to make one's mind completely mature, after having delighted (one's spiritual friends), receives the consecration from those spiritual friends. Therefore, the fifth Consecration-Sattva is the essence of the wish-granting-gem (cintamani). Having attained the

consecration, one will hear and seize the equality of the disposition of mind. Therefore, the sixth Sattva becomes the place of the splendid wisdom of hearing and thinking, and becomes the place of the mandala of brightness. After hearing, one should accomplish the perfections (pdramitcif) such as giving. On account of that, the seventh Sattva is the essence of the perfection of giving (dana) because one accurately performs in accordance with what is heard. After performing, one will generate gratification and one rejoices hilly in the dharmas, because of the pure vision which is acquired as the result of performing in accordance with the dharma that is heard. Therefore, the eighth Sattva is the essence of gratifying and rejoicing. Since these four (Sattvas) are illustrated by means of the consecration, they are known as the Sattvas of the consecration.

After Hie mind is gratified in die dharma, the body becomes purified, and after the body is purified, happiness is felt, and after happiness is felt, thought arrives at one pointedness. Therefore, the ninth Sattva is endowed with the sign of samadhi. By means of the one-pointed thought, one will perceive with pure vision. Therefore, the tendi Sattva is the essence of wisdom and knowledge. The devotee, who abides in thought which has been transformed through analysing the dharmas with wisdom, and


who then distinguishes (them) completely with knowledge, should transform die mandala. Therefore, the eleventh Sattva is the essence of transformation, or the essence of the knowledge obtained after samadhi. Having arisen from samadhi, one explains the things that have been perceived or one thoroughly examines what exists in one's thoughts. Therefore, the twelfth Sattva is the essence of speech. Since these (four Sattvas) originate from knowledge, they are called the Knowledge-Sattva. In this way, the devotee, who has gone through the door of the secret mantra, remains in the pledge, is consecrated and completes yoga. When being enacted, these performances are uninterrupted.

Next, therefore, the Action-Sattvas are explained. Action involves the signs of worshipping the Buddhas and the signs to profit living beings. Therefore, the thirteenth Sattva is the sign of Activity-Sattva. In performing the activity, one can become hindered and misled. Therefore, since one should protect oneself from the (hindrances), the fourteenth Sattva is the essence of diligence and affection. Since one should terrify the (hindrances), the fifteenth Sattva is the essence of the means of possessing the form to divert the (hindrances). There is no other way to be able to accomplish all these actions except by assembling Body, Speech and Mind Vajra of these (Sattvas) into one. Therefore, the sixteenth Sattva is the secret essence of body, speech and mind. Then, in order to seal the knowledge of each (Tathagata) family with a mudra, the four A/Wra-Masters (i.e. Sattvavajri, Ratnavajri, Dharmavajri and Karmavajri) should transform each of the four mudras abiding in each quarter. The four Secret- Offerings, namely, Vajralasya, (Vajramala, Vajragita and

Vajranrtya) are Pleasure in the Thought of Enlightenment, Garland of all the Tathagatas, Melody of all the Tathagatas and Drama of all the Tathagatas. Since these become the highest, they are placed as the form having the nature of the Great Goddess of the family. The four (External Offerings), namely, Vajradhupa, (Vajrapuspa, Vajraloka and Vajragandha) are Very Purifying, the Flower of the Qualities of Enlightenment, the Lamp of Knowledge and the Scent of Moral Conduct. The four Guardians (i.e. Vajrankusa, Vajrapasa, Vajrasphota and Vajravesa) are Heart, Affection toward Living Beings, Exertion of Teaching and Perfection of Wisdom.”138


d. Vajra-Samadhi


According to the STTS, the thirty-seven knowledges are regarded as the thirtyseven deities manifested through the vajra-samadhi. Donjaku maintains that these 138. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 228-2-5^5-8.


thirty-seven deities possess the five Wisdoms.139 He also maintains that this section of the STTS explains the samadhis and mantras of only thirty-two deities excluding the five Buddhas because the samadhis and mantras of the five Buddhas have already been demonstrated as the five samadhis and mantras of the five abhisambodhis.i40 Anandagarbha regards the samadhi of attracting the thirty-two deities as the second samadhi called the supreme mandala-king.141 In the context of Mahayana Buddhism, we can understand these thirty-seven deities as referring to the thirty-seven Bodhipalcsika dharmas.142 These Bodhipaksika dharmas contain practices and principles to reach enlightenment in Mahayana Buddhism. Through samadhi in tantric ritual, the STTS seems to transform the Mahayana dharmas into personified deities.

The STTS in this section, except for the five Tathagatas, describes in detail all the other thirty-two deities manifested through the Vajra-Samddhi of Vairocana. For example, the Lord Vairocana enters into samadhi, and then he brings from his heart the hr day a of all the Tathagatas. The thirty-two hr day as in the STTS indicate the names of the thirty-two deities and there are different names of the samadhi in accordance with the deities to be summoned. The samadhi called Being- Empowerment- Vajra is performed for attracting the deities of the first group (Vajrasattva, Vajraraja, Vajraraga and Vajrasadhu); the samadhi called Gem- Empowerment- Vajra is for attracting the deities of the second group (Vajraratna, Vajratejas, Vajraketu and Vajrahasa); the samadhi called D/zama-Empowerment- Vajra is for attracting the deities of the third group (Vajradharma, Vajratiksna, Vajrahetu and Vajrabhasa); the samadhi called Action-Empowerment- Vajra is for attracting the deities of the fourth group (Vajrakarma, Vajraralcsa, Vajrayaksa and Vajrasandhi); the samadhi called fayra-Empowerment is for the four Paramitas; the samadhi called Vajra is for the eight Goddesses of Offering; and the samadhi called Being- Vajra is for the four Guardians. The STTS gives a good example of the methods used to attract one of the thirty-two deities in the case of Vajrasattva “Then, immediately upon becoming completely enlightened, the Lord Tathagata Vairocana assumed the Samantabhadra-essence of all the Tathagatas,143 and became consecrated with the great precious gem-consecration generated from the space of all the

139. TSD. Vol. 61, N o. 2225, p. 121-1-24-26.

14°. Ibid., p. 212-1-19-23.

141. Tattvdlolca, TTP. Vol. 71, No. 3333, p. 179-4-2-3.

142. For details o f the Bodhipaksilca dharmas, see Tadeusz Skorupski, The Practices Conducive to Enlightenment, pp. 1-13; Har Dayal, The Bodhisattva Doctrine in Buddhist Sans b i t Literature, pp. 80-164.

143. Chinese 1 reads: “Then, immediately, the Lord Tathagata Vairocana became completely enlightened the Samantabhadra-essence o f all the Tathagatas.” Chinese 2 reads: “Then, immediately, the Lord Tathagata Mahavairocana became completely enlightened by means of the Samantabhadra-essence o f all the Tathagatas.”


Tathagatas. He acquired the highest144 perfection as the Dharmaknowledge of all the Tathagatas (as) Avalokitesvara. He gained the highest, all efficacious and captivating dispensation of the universal and invincible activities of all the Tathagatas.145 Having thus become self-empowered with the essence of all the Tathagatas, he entered the samadhi called the Vajra that empowers the Being arisen from the pledge of the146 Mahabodhisattva Samantabhadra of all the Tathagatas.147 He brought forth from his heart this hr day a of all the Tathagatas called the Perfect Comprehension of the Mahayana of all the Tathagatas:- ‘ VAJRASATTVA’.


As soon as it was issued from the hearts of all die Tathagatas, this very (hrdaya), as the Lord148 Samantabhadra, became transformed and emerged as lunar discs. Having purified the great thoughts of enlightenment of all living beings, they became established in all the quarters of all the Tathagatas.

Then, from those lunar discs there emerged the knowledge-vq/ras1 of all the Tathagatas, and they penetrated into the heart of the Lord Tathagata Vairocana.150 Due to the Vajrasattva -samadhi having the nature of Samantabhadra151 and of steadfastness, and through 144 Chinese 1 omits: “highest”.

145. Chinese 1 reads: “he gained the all efficacious and all pervasive dispensation o f the universal activities o f all the Tathagatas, completed performance and completed the joy o f the mind”. Chinese 2 reads: “he completed the performance and joy o f the mind in the all efficacious and uninterrupted dispensation o f the universal activities o f all the Tathagatas”. According to Ennin, this section refers to the four Wisdoms. (TSD. Vol. 61, No. 2223, pp.

38-1-7-39-3-10.)

146. Tibetan adds: “so called”.


147. Both Chinese versions read: “He entered the Pledge o f the Mahabodhisattva Samantabhadra o f all the Tathagatas, and generated the Vajra-Samadhi o f the Being-Empowerment.” This difference between the Sanskrit or Tibetan version and both Chinese versions is not because two Indian translators, namely, Amoghavajra and Danapala, translated the Sanskrit original differently based upon the textual differences, but because the Japanese editors of Taisho Shinshu Daizoltyo Edition o f the Chinese Buddhist Canon edited these Chinese versions only linguistically without comparing them with the Sanskrit or Tibetan version. Traditionally, since the classical Chinese texts did not use the commas and full stops in the sentences or paragraphs, modem scholars can edit and translate the same sentence differently in some cases. Regarding the above sentence, the Japanese editors regarded the Chinese word ‘ch u -sh en g which literally means ‘to generate’ and is used as the equivalent o f the Sanskrit word '’sambhava’ in this context, not as a participle but as a verb, and divided one connected sentence into two separate ones. Linguistically and grammatically, their editorial work is correct. However, in Chinese the above sentence without a comma, confirms that the Indian translators literally translated it according to the word order o f the Sanskrit original. This kind o f mistake happens continuously in both Chinese versions. One interesting point is that the Sanskrit word 1 sambhavaAmoghavajra, differing from Danapala, translates into Chinese as a verb in some pages, but in other pages as a participle even if there is no difference in Sanskrit.


148. Chinese 2 adds: “Mahabodhisattva”.

149. Chinese 1 reads: “all the Buddhas”.

150. Chinese 2 reads: “Mahavairocana”.

15 Tibetan omits: “the nature of Samantabhadra”.


the empowerment of all the Tathagatas, they became merged into one, and pervaded the entire sphere of space with a ray beam decorated with five crests. Having become visible as the Vajraform152 created153 by the Body, Speech and Mind Vajra of all the Tathagatas,154 they emerged from the heart(s) of all the Tathagatas, and became located on the hand155 (of the Lord).

Then, from that vajra there emerged beams of multi-coloured and vq/Ta-shaped rays,157 which with brightness penetrated all the universes. From the tips of these vq/ra-shaped rays there emerged the bodily forms of the Tathagatas as numerous and infinite as die dust particles of all the universes. On account of their perfect enlightenment to the intuitive wisdom that perceives the sameness of all the Tathagatas, and that comprises the entire Dharmadhdtu, encompassing the whole of the space-sphere,158 and prevailing like ocean-clouds over all die universes, they generated the great thoughts of enlightenment of all the Tathagatas, They accomplished all kinds of practices of Samantabhadra, delighted die families159 of all the Tathagatas, approached the seat of the great enlightenment, vanquished all die Maras, and attained the 160great enlightenment161 of the sameness of all the Tathagatas. They set in motion the wheel of the Dharma,162 liberated the entire and complete sphere of living beings, acted for the benefit and welfare of all, accomplished the highest attainment of 1 “ knowledge and intuitive wisdom of all the Tathagatas, and displayed all the other miraculous activities of all the Tathagatas. Due to Vajrasattva's samadhi having the nature of Samantabhadra and of steadfastness, they then became merged into one and assumed the body of the Mahabodhisattva Samantabhadra. Then, he became established in the heart of the Lord Vairocana, and recited this joyful utterance


152 Tibetan reads: “ Vajradhatu”.

153. Tibetan reads: “resembling”.

154. Chinese 1 reads: “Having generated the vq/ra-form from the Body, Speech and Mind Vajra o f all the Tathagatas”.

155 Tibetan reads: “both hands”. The Sanskrit term for ‘on the hand’ in this context is tpanau\ that is the locative singular form o f lp a n i\ but the Tibetan text read it as the dual. This happens continuously.

156. Both Chinese versions add: “o f the Buddha”.

15?. Tibetan reads: “rays resembling that vajra”. Chinese 1 reads: “Then from that vajra there emerged vq/ra-shaped various colours”.

158. Chinese 1 omits: “sphere”.

159. Both Chinese versions omit: “families”.

16°. Chinese 2 inserts: “highest”.

16 f Chinese 2 inserts: “fruit”.

162 Tibetan: “excellent Dharma”. 163. Chinese 2 inserts: “pledge”.


‘Bravo! I 164am the self-existent Samantabhadra, the steadfast being. Though without a body due to steadfastness, I assume a being's165 body.

Then, the body of the Mahabodhisattva Samantabhadra emerged from the Lord's heart, and resting on the lunar disc in front of all the Tathagatas, he solicited for instructions. Then, having entered the samadhi called the Pledge- Vajra166 of the Knowledge167 of all the Tathagatas,168 the Lord conferred upon this Mahabodhisattva169 Samantabhadra the consecration with the gem-crown and coloured cloth as the body of all the Buddhas for setting in motion the wheel of all the Tathagatas, and he placed into his hands the success-vq/ra of all the Tathagatas. He did this in order to realise the goals that range from170 all the Tathagatas' moral conduct, samadhi, wisdom, emancipation, vision of the knowledge of emancipation, turning the wheel of the Dharma, pursuing activities for the benefit of living beings, great skilful means, powers, heroism, the pledge of great knowledge,171 liberation of the entire sphere of living beings, bestowing sovereignty on all, experiencing complete pleasure and

satisfaction,172 and that conclude with the knowledge of the sameness of all the Tathagatas, the highest intuitive wisdom and the highest attainment of the complete comprehension of the Mahayana. Next, all the Tathagatas consecrated him with the vq/'ra-name-consecration, saying; ‘Vajrapani Vajrapani’. Then, with the vajra-pride, the Bodhisattva Mahasattva Vajrapani waved that vajra with his left hand173 and shook it at his heart (with his right hand), and then holding it in a boastful manner,174 he recited this joyful utterance:-


164. Chinese 2 adds: “the stainless”.

165. Chinese 2 reads: “Vajrasattva”, instead o f “being”.

166. Chinese 2 reads: “the Vajra-Samadhi”.

167. Tibetan reads: “the Pledge- Vajra o f the Samadhi and Knowledge”.

168. Chinese 1 reads: “the Knowledge-Pledge o f all the Tathagatas called the Vajra-Samadhi

169. Tibetan reads: “Bodhisattva Mahasattva”.

170. Both Chinese versions insert: “receiving for use”.

171. Chinese 2 reads: “generating the pledge o f great knowledge from the skilful means o f great knowledge and the power o f great vigour”.

172. Chinese 2 reads: “letting the sovereign o f all gain happiness and sensual enjoyment”.

173. According to Sakyamitra, Vajrasattva hits his side with his left hand o f forming the vajrafist. {Kosalalamkara, TTP. Vol. 70, No. 3326, p.205-2-5~8). Anandagarbha comments that Vajrasattva holds a bell with his left hand o f forming the va/ra-fist, and places it on his left waist. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 157-4-5~6).

174. This phrase is missing in Sanskrit.

Chinese 1 reads: “During the time o f consecration, the Bodhisattva Mahasattva Vajrapani waved the vajra, m oving his left (hand) and making rhythmic movements with his right (hand), and then he placed that vajra at his heart, keeping the energy in progress (that had been generated by his actions).” Chinese 2 reads: “At this time, the Bodhisattva Mahasattva Vajrapani looking arrogant, waved that vajra with the right hand, and placed (it) at his heart, keeping the energy in progress (that had been generated by his actions).”


‘This is the highest success-vq/ra of all the Buddhas.


The vajra placed in my hand and I abide in the vajra”’

Among the thirty-two deities, Vajrasattva, who is the tantric transformation of the Bodhisattva, is considered as the most important Mahabodhisattva. The relationship between Vairocana and Vajrasattva can be understood as the fundamental substance to the phenomenal function. Kukai asserts that in order to realise perfect enlightenment, all living beings need to start with Vajrasattva's empowerment, so Vajrasattva is called ‘the Thought of Enlightenment of all the Tathagatas5 and all the thirty-seven deities are generated from this particular Bodhisattva.176 Donjaku also maintains that Vajrasattva is the cause of Vairocana, and hence Vajrasattva is called the Thought of Enlightenment of all the Tathagatas for this reason as well.177 Part one of the Sanskrit STTS emphasises Vajrasattva who is the starting point of enlightenment because this part focuses on enlightenment and propounds the tantric methods such as the five abhisambodhis.


e. Supreme Action-King Having introduced and exp

lained the thirty-seven deities, the STTS proceeds to explain the method of empowering the assembly of all the Tathagatas, which is regarded as the third samadhi, and which Anandagarbha calls the supreme actionking. 178 The 'STTS reads:-

“Then having drawn the sign for the snapping of the m vajra~ fingers for empowering180 the assembly of all the Tathagatas,181 the Lord182 pronounced this hrdayam for empowering the assembly of all the Tathagatas :-

  • VAJRASAMAJA5.

Then, in an instant, the Tathagatas were induced by the sign of the fingers of all the Tathagatas being snapped. They, who prevail like the ocean-clouds over all the universes and who are equal in number to the infinite dust particles of all the universes, gathered together in a conclave with the mandalas of the retinue of Bodhisattvas. They then went to the topmost mansion of the Lord,185 made of vajras, jewels and gems where the Lord


175. S. pp. 11-13, T. pp. 220-3-3-221-1-4, C l. p. 208-2-9-3-24, C2. pp. 342-2-29-343-1-20.

176. TSD. Vol. 61, No. 2221, p. 5-1-26-29.

177. TSD. Vol. 61, No. 2225, p. 159-1-4-6.

17S. Tattvaloka, TTP. Vol. 71, No. 3333, p. 180-3-7.

179. Chinese 2 omits: "vajra”.

18°. Chinese 1 omits: “empowering”.

18 f In this context, the hand gesture for empowering the assembly o f all the Tathagatas is that while holding the two vo/'ra-fists, one makes two hooks with the two forefingers, and binds a vajra in both hands. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 179-4-7—8).

182. Chinese 2 adds: “Tathagata Mahavairocana”.

183. Tibetan omits: 11 hr day a”.

184. Chinese 2 omits: “all the Tathagatas”.

185. Tibetan and both Chinese versions omit: “Lord”.


186Vairocana187 was abiding. On approaching, they pronounced this (mantra):-


OM SARVA-TATHAGATA-PADA-VANDANAN KAROML


make a salutation to the feet of all the Tathagatas.)7 Having made a salutation to the feet188 of all the Tathagatas by reciting at will this self-perfected mantra, they recited this joyful utterance:-

Ah! This is the excellent activity of the Bodhisattva Samantabhadra. Due to this, the Tathagata is luminous in the middle of the wheel189 of the Tathagatas.7

Then having pronounced this, all the Tathagatas, who had assembled from the ten directions of all the universes, entered the heart of the Lord190 Vairocana191 through the empowerment of all the Tathagatas together with the mandalas of the retinue of the Bodhisattvas. From these hearts of all the Tathagatas, there emerged the mandalas of the retinue of their own Bodhisattvas, and they formed a mandala on every side of the topmost mansion of the Lord,192 made of vajras, jewels and gems. Having entered and positioned (themselves), they recited this joyful utterance:- ‘Ah! This is indeed the beginningless powerful193 birth of all the Buddhas. Due to this, the Buddhas, numerous as all the atoms, became merged into one.57,


3. Extensive Rites o f Entering All the Mandalas


According to Anandagarbha, the section of the tantra starting with the words, “Then all the Lords Tathagatas”195 and ending with the words, “The sound HE should be uttered for the one whose name is bestowed77,196 explains the activities of the master and the extensive rite of entering all the mandalas.


a. One Hundred and Eight Invocations


After the preliminary activities such as the three samadhis have been performed, the final action prior to the mandala-ritual is the invocation-ceremony. In this context, it consists in reciting the names of one hundred and eight deities to invoke their


186 Tibetan and both Chinese versions insert: “Tathagata”.

187 Chinese 2 reads: “Mahavairocana”.

188. Chinese 1 omits: “feet”.

189. Both Chinese versions insert: “mandala”.

19°. Chinese 1 omits: “Lord” and inserts: “Buddha”.

191. Chinese 2 reads: “Tathagata Mahavairocana”.

192. Chinese 1 adds: “Buddha Vairocana”.

193. Tibetan and both Chinese versions read: “great” instead of “powerful”.

194 S. pp. 59-3-60-10, T. p. 228-4-6-5-8, C l. p. 216-1-12-2-3, C2. p. 351-2-18-3-10.

195. atha bhagavantah sarvatathdgatdh: S. p. 60-11, T. p. 228-5-8, C l. p. 216-2-4, C2. p. 351- 3-11.

196. yasyayan nama kuryat tasya he-sabdah prayolctavya iti: S. p. 72-16, T. p. 230-4-8, C l. p. 219-1-14, C2. p. 354-2-26.

197. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 135-2-7-8.


manifestation. According to the STTS, before the Lord explains the main mandalas, all the Tathagatas gather together in a conclave and invoke the Lord with one hundred and eight names. Thus, the invocation-ceremony of reciting the one hundred and eight names is introduced before every main mandala is explained. The invocation-ceremony with one hundred and eight names appears in the STTS six times: part one, pp. 60-62 (ch. 1); part two, pp. 154-156 (ch. 6); part three, pp. 315-317 (ch. 15); part four, pp. 383-385 (ch. 19); part five, pp. 549-551 and pp. 559-561 (ch. 26-b). Each part of the STTS contains a different set of deity-names. These one hundred and eight tantric deity-names can be interpreted as corresponding to one hundred and eight Buddhist sufferings taught by the Buddha Sakyamuni, and the practitioner can eliminate the one hundred and eight sufferings by means of reciting the same number of deity-names.

Concerning the names of one hundred and eight deities listed in die Sanskrit STTS pages 60-62, there is a difference of opinion between Sakyamitra and Anandagarbha. Sakyamitra maintains that the number of one hundred and eight names in this context means only an approximately counted example. Therefore, an exact total of the names described in the STTS is not 108 but exactly 112. These one hundred and twelve names are divided into sixteen groups, and the sixteen groups represent the characteristics of the sixteen Mahabodhisattvas. Each group starts with the name of one of the sixteen Mahabodhisattvas. In addition, each group consists of seven names, which symbolise the distinguishing characteristics of each Mahabodhisattva.198 However, Anandagarbha199 explains that the names listed in the STTS are one hundred and eight in number. He makes some adjustments in the four cases by merging two separate names into one, for example, Pramodyaraja and Vajragrya as Pramodyaraja-vajragrya,200 Akasagarbha and Vajradhya as Akasagarbha-vajradhya,201 Suviryagrya and Duryodhana as Suviryagryaduryodhana, 202 and Vajramusti and Agrasamaya as Yajramusti-agrasamaya.


b. Structure o f the Vajradhatu Mahdmandala


The Vajradhatu Mahdmandala is regarded as the principal mandala throughout the whole of the STTS because all the other mandalas explained in the STTS are 19S. Concerning the meanings o f the seven names that each group contains, Sakyamitra comments: the first is a characteristic established by means o f the mantra; the second is a characteristic established by means o f the mudra; the third is a common characteristic established by means o f all the Tathagatas; the fourth is a characteristic transformed into another by means o f activity; the fifth is a characteristic transformed by means o f the mahamudra; the sixth is a characteristic transformed by means o f the name-consecration; the seventh is a characteristic transformed by means o f acting for the welfare o f living beings.


CKosaldlamkdra, TTP. Vol. 70, No. 3326, p. 230-1-7-2-1).

199. Tattvaloka , TTP. Vol. 71, No. 3333, pp. 180-5-3-182-2-5.

200. Ibid., p. 181-2-1.

201. Ibid., p. 181-2-6.

202 Ibid., p. 182-1-5.

203. Ibid., p. 182-2-4.


derived from it. The mahd-mandala which constitutes the supreme maha-mudra focuses on the Body of Vairocana. According to Sakyamitra, the term * Vajradhatumandala’ originates in the mandala being manifested by the Bodhisattva Vajradhatu.204 The Vajradhatu Mahdmandala is explained by the Lord Vajradhara. The method of constructing the mandala is described in the STTS:- “Now, I will explain the supreme Mahdmandala (of the Tathagata-family).205 It resembles the Vajradhatu, so it is called ‘Vajradhatu (Ka/ra-sphere)’.

According to the rule, one should sit in the centre of the mandala, and contemplate and empower die maha-mudra of the Mahasattva. Having been engaged in the mudra, one should rise (from the mudra) and gaze at every direction. Then, one should walk around with pride, pronouncing; ‘Vajrasattva’.

The mandala should be measured by learned men in accordance with (their) power using a new, well-made, well-measured and beautiful thread. (The mandala) has its four comers embellished with four gates and four arched doorways, joined together by four lines and adorned with silk pennants, wreaths and garlands. The external mandala should be drawn, inlaid with vajras and gems in every part of each comer and between the gates and doors. When the internal castle, symbolised by the wheel, is entered, it is surrounded by the vajra-line and adorned with eight pillars. The boundary of the vu/ra-pillars is decorated with five lunar discs.

One should position an image of the Buddha (Vairocana) in the centre of the central mandala. In the centre of the discs on all die sides of the Buddha, the four chief Pledges (referring to the four Paramitas) should be drawn in correct order. After one approaches with the vayra-impulse, all the four Buddhas, i.e. Aksobhya and the others, should be positioned in the four mandalas.

The mandala of Aksobhya should be duly arranged with Vajradhara and the others.206 The mandala of Ratnasambhava is filled with Vajragarbha and the others.207 The mandala of 204 Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 253-5-1. Toganoo Shoun asserts that since Vajradhatu is another name o f the Tathagata Mahavairocana and since, according to the STTS, the Tathagata Mahavairocana is called the Tathagata Vajradhatu who consists o f the elements (dhatu) o f knowledge, solid and unbreakable like a diamond (vajra), the Vajradhatu-mandala is the mandala revealed by the Tathagata Vajradhatu. (Toganoo Shoun, Mandara no kenlzyu, p. 196).

205. Tibetan reads: “vajra-mandala” instead o f “mahd-mandala”.

206. The mandala o f Aksobhya includes Vajradhara (or Vajrasattva), Vajrakarsa (or Vajraraja),

Vajradhanu (or Vajraraga) and Vajraharsa (or Vajrasadhu).

207. The mandala o f Ratnasambhava includes Vajragarbha (or Vajraratna), Vajraprabha (or Vajratejas), Vajrayasti (or Vajraketu) and Vajrapriti (or Vajrahasa).


Amitayus is purified with Vajranetra and the others.208 The mandala of Amoghasiddhi should be drawn with Vajravisva and the others.

The (four) Phyra-goddesses should be drawn in the comers of the (central) circle. The (four) Female Offerings of the Buddha should be drawn in the comers of the external mandala. The four Doorguardians should be positioned in the centre of all the gates. The Mahasattvas should be placed in the (four) directions of the external mandala.”

The above passage from the STTS gives only the basic positions of the thirty-seven deities in the mandala, without their details such as postures, body-colours and symbols. The detailed descriptions paraphrased below of the thirty-seven deities positioned in the Vajradhatu Mahdmandala are taken from Anandagarbha's commentary.

(1) Vairocana: His body is white. He holds a five-pronged vajra in the mudra of supreme enlightenment. He sits cross-legged on a lion-seat which is positioned on top of a lotus and a lunar-disc. He wears upper and lower garments made of cotton endowed with the brightness of the sun. He is endowed with the consecration of the gem-diadem and silk-omaments. His first face out of four looks to the east.


(2) Aksobhya: His body is blue. He sits vo/ra-cross-legged on a lotus and a moon resting on a elephant-seat. He forms the mudra of earth-touching and also the mudra of vajra. He is endowed with the sun-brightness-disc, and with the consecration of die gem-diadem and silk-omaments. His face is turned towards Vairocana.


(3) Ratnasambhava: His body is yellow. He sits va/'ra-cross-legged on a lotus and a moon resting on a horse-seat. He forms the mudra of supreme giving and also the mudra of vajra-gem. He is endowed with the sun-brightness-disc, and with the consecration of the gem-diadem and silk-omaments. His face is turned towards Vairocana.


(4) Amitabha: His body is red. He sits vayra-cross-legged on a lotus and a moon resting on a peacock-seat. He forms the mudra of supreme samadhi and also the mudra of vajra-lotus. He is endowed with the sun-brightness-disc, and with the consecration of the gem-diadem and silk-omaments. His face is turned towards Vairocana.


(5) Amoghasiddhi: His body is green. He sits va/ra-cross-legged on a lotus and a moon resting on a Garuda-seat. He forms the mudra of fearlessness and also the mudra of universal-vq/ra (yisva-vajra). He is endowed with the sun-brightness- 208. The mandala o f Amitayus includes Vajranetra (or Vajradharma), Vajrabuddhi (or Vajratiksna), Vajramanda (or Vajrahetu) and Vajravaca (or Vajrabhasa).

209. The mandala o f Amoghasiddhi includes Vajravisva (or Vajrakarma), Vajramitra (or Vajraraksa), Vajracanda (or Vajrayaksa) and Vajramusti (or Vajrasandhi). 210. S. pp. 63 -5 -64-10, T. p. 229-2-8-4-1, C l. pp. 216-3-24-217-1-22, C2. p. 352-2-11-3-12.


disc, and with the consecration of the gem-diadem and silk-omaments. His face is turned towards Vairocana. In addition to the above descriptions of the five Tathagatas, Anandagarbha further explains:-

“One should draw and position these five Tathagatas while reciting the hrdaya called the Vajradhatu which is common to the five Tathagatas. One should induce the five Tathagatas visualised in space to descend into die mandala and to merge into one with the forms of the five Tathagatas drawn inside the mandala. Thus, while reciting the hr day as from Sattvavajri up to Vajravesa, one should draw and position the deities from Sattvavajri up to Vajravesa, and one should induce the forms of the thirty-two deities visualised in space to descend into the mandala and to merge into one with the forms of the thirty-two deities drawn inside the mandala

(6) Sattvavajri: She holds a red five-pronged vajra, and sits on a lotus and moon seat.

(7) Ratnavajri: She holds a five-pronged vajra attached with the top of the wishgranting- gem, and sits on a lotus and moon seat.

(8) Dharmavajri: She holds a five-pronged vajra at the entrance to the repository of a whitish-red sixteen-petalled lotus with eight petals turn downwards and eight petals turn upwards. She sits on a lotus and moon seat.

(9) Karmavajri: She holds a crossed-vayra made of five colours and twelve prongs, i.e. its centre is white, its fore-part is blue, its right part is yellow, its back part is red and its left part is like emerald. She sits on a lotus and moon seat. Regarding the seats of the Bodhisattvas, Anandagarbha comments that the Bodhisattvas from Vajrasattva up to the Bhadrakalpa Bodhisattvas sit on the sattvaseats above lotuses and moons because it is said that the leading Chiefs, such as Vajrasattva, should sit on the half-vo/ra-seats, and be differentiated in different ways.”

(10) Vajrasattva: His body is white. His left hand holds a bell with the vajra-fist positioned next to his body with the vay'ra-pride, while his right hand holds a first five-pronged vajra with his middle finger placed in the khatvdnga-mudrd positioned next to his heart.

(11) Vajraraja: His body is the colour of gold. He sits while assembling all the Tathagatas by means of the vcz/ra-hook.

(12) Vajraraga: His body is red. He performs the ritual of piercing all the Tathagatas with a bow and an arrow.

(13) Vajrasadhu: His body is emerald in colour. He sits while delighting all the Tathagatas by producing ‘the sadhu-sounds’ as well as making the vajra-fist with both his hands.


(14) Vajraratna: His body is yellow. He sits with the vajra-pride and as his distinguished characteristic, he holds with the vajra-fist of his left hand a gemstudded- bell at his forehead and with the vajra-fi st of his right hand he holds a fivepronged vajra together with the wish-granting-gem.

(15) Vajratejas: His body is the colour of the sun. In his right hand he holds the disc of the vajra-sun and illuminates the Tathagatas, and he touches the seat with his left hand.

(16) Vajraketu: His body is the colour of die sky. He holds the banner of the wishgranting- gem in his right hand, while touching the seat with his left hand.

(17) Vajrahasa: His body is white like a tortoise-shell and lotus root. In his right hand he holds an object which is certainly connected with the smile of the Tathagatas — it has two rows of teeth and a vajra at the top. He touches the seat with his left hand.

(18) Vajradharma: His body is reddish white. In his left hand, he holds a vajralotus against his ribs and he opens its petals at his heart with his right hand. (19) Vajratiksna: His body is blue and pure like the sky. In his left hand he holds a book of Prajnapdramitd at the heart and a sword in his right. He sits confidently in the posture of striking all the Tathagatas.

(20) Vajrahetu: His body is the colour of gold. With his right hand he turns an eight-spolced wheel with his middle finger, and he touches the seat with his left hand.

(21) Vajrabhasa: His body is the colour of copper. He speaks to the Tathagatas while holding the vajra-tongue in his right hand, and he touches the seat with his left hand.

(22) Vajrakarma: His face is white. His waist and both his hands are light-blue. From below his face to his waist, he is pale red. His thighs are light yellow, and from his calves to his feet, he is white. His left hand holds the imiversal-vayra-bell with the vajra-fist and the vajra-pride, and by means of praise, the middle-fmger of his right hand holds the universal-va/>*a over his heart.

(23) Vajraraksa: His body is the colour of gold. His hands hold the va/ra-cuirass, and he sits giving an impression of armouring all the Tathagatas.

(24) Vajrayaksa: His body is black and he has a large belly. He sits and grins while holding with his vo/'ra-fists the ends of the tusks protruding from his mouth.

(25) Vajrasandhi: His body is yellow. He sits while inserting and pressing a vajra into the middle of his pledge (6,amaya)-formed-fists.

(26) Vajralasya: Her body is white. She holds two five-pronged vajras with the vajra-fists. Having proudly displayed them with the vcy'm-contempt, she points both vajras slightly towards the left. (27) Vajramala: Her body is yellow. She consecrates the Tathagatas with a garland of gems. (28) Vajragita: Her body is pale red. She plucks a vind.


(29) Vajranrtya: Her body is of the same colour as Vajrakarma's body. She holds a three-pronged vajra while making it dance with both her hands.

(30) Vajradhupa: Her body is white. She satisfies the Tathagatas with the vajraincense- vessel.

(31) Vajrapuspa: Her body is yellow. She holds a vq/Wz-flower-vessel in her left hand, and she scatters particles of flowers with her right hand.

(32) Vajraloka: Her body is pale red. She holds the wick of a lamp and worships the Tathagatas delighted by the lamp's brightness.

(33) Vajragandha: Her body is variegated just like the bodies of Vajranrtya and Vajrakarma. She holds the dharma-shell of scent in her left hand, and worships the Tathagatas with a scent-cloud held in her right hand.

(34) Vajrankusa; His body is white. He attracts the Tathagatas with the vq/ra-hook.

(35) Vajrapasa: His body is yellow. He induces the Tathagatas to enter the mandala with the vajra-noose.

(36) Vajrasphota: His body is pale red. He binds the Tathagatas with the vajrachain.

(37) Vajravesa: His body is variegated. He subjugates the Tathagatas. He holds the vq/'ra-bell in his right hand while touching the seat with his left hand.


Anandagarbha concludes the description of the deities:-

"All the Tathagatas are endowed with a state of tranquillity and the postures of tranquil vision. They smile and are adorned with ornaments. The eyes of Vajrasattva and the others are wide open with supreme joy. They (Vajrasattva and the other Bodhisattvas) are endowed with a state of grace and smile. They are consecrated with the diadems and silk scarves of the five Buddhas, and adorned with all kinds of ornaments.”

In addition to the thirty-seven deities, the Mahasattvas are placed towards the four directions of the external mandala. In this context, the Mahasattvas refer to the Bodhisattvas of the Bhadrakalpa.212 As in the sixth part of the introduction, Amoghavajra states that there are the sixteen Bhadrakalpa Mahabodhisattvas213

211. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 185-3-8-186-3-4. This long passage is modified based upon Anandagarbha's commentary, and literally translated from Tibetan into Japanese by Toganoo Sh5un. (Toganoo Shoun, Mandara no Jcenlcyu, pp. 231-240).

212. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 185-3-7-8.

Toganoo Shoun (.Mandara no Icenltyu, p. 209) argues that the number o f Nirmanabuddhas manifested by the five Buddhas who are residing in the abode o f the king o f the Akanistha gods should be counted as three thousands in total which represent the past, the present and the future. However, only the present exists in the Pure Land o f Vairocana, so the Buddhas o f the Bhadrakalpa refer to one thousand Buddhas. In this context, the number ‘one thousand’ sym bolises countless and immeasurable Nirmanabuddhas. These one thousand Buddhas o f the Bhadrakalpa can be simplified as the sixteen principal Bodhisattvas such as Maitreya.

213. According to Sarvadurgatiparisodhana Tantra (Tadeusz Skorupski, pp. 9 -1 0 ), the names o f the sixteen Bhadrakalpa Mahabodhisattvas are:-


positioned towards the four directions (of the external mandala). Concerning these Bhadrakalpa Mahabodhisattvas, Anandagarbha comments :-

Maitreya and the others in the east hold vajras like Vajrasattva. Those in the south hold vczyra-gems like Vajraratna, those in the west hold va/ra-lotuses like Vajradharma, and those in the north hold crossed-vfl/ras like Vajrakarma. Their particular distinction is that they are possessed of the consecration with gem-diadems.”

When Anandagarbha's detailed explanation and the brief description of the STTS are compared with the existing three types of the mandala which have been dealt with in the introduction, some differences are apparent. According to the Vajradhatu Mahdmandala of the Gobushinkan,215 i.e. each of the five Tathagatas out of the thirty-seven deities is seated on seven animals, i.e. Vairocana is seated on seven yellow lions, Aksobhya on seven blue elephants, Ratnasambhava on seven red horses, Amitabha on seven light green peacocks and Amoghasiddhi on seven- redyellow Garudas, and each of the other thirty-two deities is seated on a lotus placed on an animal. In addition, Vairocana and the thirty-two deities all wear gemdiadems except for the four Tathagatas, i.e. Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. However, each of the thirty-seven deities drawn in the Perfected Body Assembly of the Nine Assemblies Mandala216 is seated on a lotus. This mandala also contains the external kh/Va-families, i.e., the twenty Hindu deities drawn in the external mandala, which appear not in the Vajradhatu Mahdmandala but in the Trilokavijaya Mahdmandala of the Sanskrit STTS (ch. 6).

In the eastern chapel of Chachapuri Monastery Vairocana sits in the centre of a Vajradhdtu-mahamandala, encircled in the four directions by the four Tathagatas, each of whom are encircled in turn by four Mahabodhisattvas. The four comers are occupied by the four Paramitas. The second enclosure consists of the sixteen Bhadrakalpa Mahabodhisattvas, and the third enclosure consists of the one thousand Bhadrakalpa buddhas. In the four outermost comers are the four Internal Offerings, and within each of the four gates the four Guardians. However, the four External Offerings are omitted in this mandala. At Alchi Monastery, Vairocana sits in the centre of a Vajradhdtu-mahamandala, encircled by the four Tathagatas in the four directions, and by the four Paramitas in the four comers. The next circle contains the sixteen Mahabodhisattvas. The four comers outside of the circle are Maitreya, AmoghadarSin, Sarvapayajaha, Sarvasokatamonirghatanamati, Gandhahasti, Suramgama, Gaganaganja, Jnanaketu, Amrtaprabha, Candraprabha, Bhadrapala, Jaliniprabha, Vajragarbha, Aksayamati, Pratibhanakuta and Samantabhadra. Detailed information about these deities is also given in this text (pp. 29~31).


214 Tattvaloka, TTP. Vol. 71, No. 3333, pp. 186-3-4-6.

215. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 75-93; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhatu Mandala, pp. 54-127; Toganoo Shoun, Kongocholtyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 153-227. 216. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 893-907; Lokesh Chandra, Sarva- Tathdgata-Tattva-Sahgraha, Introduction, p. 29; Adrian Snodgrass, The Matrix and Diamond World Mandalas in Shingon Buddhism, p. 577.


occupied by the four Internal Offerings. In the outer perimeter, there are the four Guardians in the four directions, the four External Offerings in the four comers, and the sixteen Bhadrakalpa Mahabodhisattvas.217 According to the Vajradhdtumahamandala of The Ngor Collection,2iS Vairocana has four faces pointing towards the four directions, and the four Paramitas are drawn not as their bodily images but as their four symbols, i.e. vajra, gem, lotus and crossed vajra. In addition, each of the four Guardians consists of a pair, and the four pairs of Guardians are drawn in the four inner gates and the four outer gates.


c. Entry into the Mandala

c-L Master's Rite


According to the ritual of entering the Vajradhatu Mahdmandala as described in the STTS, it is essential for the vajra-master to enter himself into the mandala just before guiding his pupil to enter it. The vq/ra-master's activity in the mandala involves sitting in the centre of the mandala and visualising as well as assembling all the deities drawn in the mandala by means of pronouncing the appropriate mantras, binding the appropriate mudras and finally controlling all the deities. The ritual of the vq/ra-master's entry into the maha-mandala is taught in the STTS in the following way:-

‘‘Having made, according to the rite, the mudra (gesture) of the chief Samaya (-Being), the vq/ra-master enters (the mandala), and takes possession of (divine knowledge) by means of the mudra of (Vajra-) Sphota. Now this is the hr day a of taking possession of all: lA IT.

By making this demand, he is empowered, (consecrated and worshipped). Having achieved this, he should pronoimce his (consecrated) name, and then he should direct (the deities) with the vajra. Having made the {mudra of) the Sattva Vajrankusa, the vq/ra-master should assemble all the Buddhas by repeatedly snapping his fingers. At the same moment, all the Buddhas and those who appertain to all the mandalas together with Vajrasattva enter the assembly in the mandala. Then while meditating on the maha-mudra of Vajrasattva,219 he should pronounce once the supreme one hundred and eight names. Then, having been gratified by the assembly, the Tathagatas become steadfast. The self-perfected Vajrasattva stands close by in friendship. Then, having performed the rite with (Vajra-) Ahkusa, (Vajrapasa, Vajrasphota and Vajravesa-mudras) at all the gates, the vq/ramaster should lead the Samayas with the mudras of the highest

217. The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council o f Religious Affairs o f His Holiness the Dalai Lama, pp. 213~214.

218. bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II, Kodansha Ltd., Kyoto, Japan, 1983.

219. Only the Sanskrit reads: “Vajradhara”.


mahd-karma. As with the mudras of the chief Samayas, so with the mudras of Sattvavajri, (Ratnavajri, Dharmavajri and Karmavajri), he should attain the status of Mahasattva, pronouncing; 'JAH HUM VAMHOH. Then, the Buddhas and the other deities as well as all the Mahasattvas are summoned, drawn in, bound and brought under his control. Then, having satisfied these eminent beings with the secret Offerings, he should command them, (saying); ‘You should act for the benefit of all living beings and for their complete attainments.’”

According to the above explanation, the vq/ra-master begins this ritual by binding the mudra of the chief Samaya. Sakyamitra states that the chief Samaya in this context indicates Sattvavajri, and the mudra of Sattvavajri is made by stretching out the two middle fingers of the va/ra-bond.221 Anandagarbha identifies ‘the mudra of the chief Samaya’ as ‘the samaya-mudra of Vajrasattva’, because he states that while reciting: ‘Vajrasattva’ and clasping a garland of flowers with the samayamudra of Vajrasattva, one should approach the mandala with the vq/ra-impulse (yajra-vega).222 ‘Meditating on the maha-mudra of Vajrasattva’ means that one conceives of oneself as Vajrasattva. Concerning the four syllabled seed-mantras, i.e., JAH HUM VAMHOH, the STTS states that this is the hrdaya of summoning, drawing in, binding and subduing the Mahasattvas.223 The secret Offerings in this context refer to the eight Offerings (Pujds), i.e. Vajralasya, Vajramala, Vajraglta, Vajranrtya, Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha.


c-2. Pupil's Rite


In this section the STTS224 provides a long description of the rite of the pupil's entry into the mandala. The first stage involves the pupil making four separate salutations to the four families, i.e. to Vajra-, Ratna-, Dharma- and Jftzrma-families. He forms the vajra-anjali and at the same time pronounces their appropriate mantras. “Now, from Hie beginning (the pupil) should make the four respectful salutations to all the Tathagatas in such manner:-

220 S. pp. 64-11-65-15, T. p. 229-4-1-8, C l. p. 217-1-23-2-14, C2. pp. 352-3-13-353-1-3.

221. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 233-4-3-7.

Concerning the va/ra-bond, the STTS explains: “The palms o f the hands (anjali) are held firmly, and all the fingers are bound together. This is called the vajra-anjali. As it is well bound, it is the va/ra-bond. A ll samaya-mudras are generated from this va/ra-bond.” (S. p.


8 3-2 -4 , T. p. 23 1-5-5-6, C l. p. 220-3-24-26, C2. p. 356-3-2-4).

222. Tattvaloka, TTP. Vol. 71, No. 3333, p. 186-3-8.

223. S. p. 80-11-12, T. p. 231-3-8, C l. p. 220-2-10-11, C2. p. 356-1-4-5.

David Snellgrove explains: “The four Door Guardians represent the four stages of introducing the divinities into the mandala, which are effected by the mantra: JAH HUM VAM HOH. The mantra JAH indicates Vajrankusa who summons the divinities, HUM indicates VajrapaSa who draws them in, VAM indicates Vajrasphota who binds them, and HOH indicates Vajravesa who completes the pervasion o f the mandala by wisdom.” (David Snellgrove, Indo-Tibetan Buddhism, pp. 222-223).

224. S. pp. 67-7-72-16, T. p. 230-1-3-4-8, C l. pp. 217-3-17-219-1-14, C2. pp. 353-2-2-354-2- 26.


He should prostrate himself (on the ground) with his whole body, stretching out the vajra-anjali and (pronouncing) this mantra


'OM SARVATATHAGATA PUJOPASTHANAYATMANAM NIRYATAYAMI SARVATATHAGATA VAJRASATTVAADHITISTHASVA MAM.

(I dedicate myself to the worship of and to die attendance on all the Tathagatas. O Vajrasattva of all the Tathagatas, empower me!)’

Then, having stood up and placed the vajra-anjali over his heart, he should prostrate himself (on the ground) with his forehead, (pronouncing) this mantra:-


'OM SARVATATHAGATA PUJABHISEKAYATMANAM NIRYATAYAMI SARVATATHAGATA VAJRARA TNA-ABHISINCA


MAM. (I dedicate myself to the worship and to the consecration of all die Tathagatas. O Vajraratna of all the Tathagatas, consecrate me!)’

Then, having stood up as before and placed the vajra-anjali on his head, he should prostrate himself (on the ground) with his face, (pronouncing) this mantra


'OM SARVATATHAGATA PUJAPRAVARTANAYATMANAM NIRYATAYAMI SARVATATHAGATA VAJRADHARMAPRAVARTAYA


MAM.

(I dedicate myself to the worship of all the Tathagatas and to set <the Wheel of the Dharma> in motion. O Vajradharma of all the Tathagatas, set it in motion for me!)’ Then, having stood up as before, and having lowered the vajraanjali from his head and placed it over his heart, he should prostrate himself (on the ground) with his forehead, (pronouncing) this mantra


OM SARVATATHAGATA PUJAKARMANE ATMANAM NIRYATAYAMI SARVATATHAGATA VAJRAKARMA KURU MAM.

(I dedicate myself to the worship of all the Tathagatas and to action. O Vajrakarma of all the Tathagatas, act for me!)”’ These four consecutive salutations refer to the means of gathering the accumulation of merit. The first salutation is made towards the eastern quarter (the mandala of Aksobhya) in order to receive the empowerment to gain the complete purification of the thought of enlightenment and the steadfastness of the pledge. The worship of all the Tathagatas means the generating of the thought of enlightenment of both means (updya) and wisdom (prajna). During this salutation, the pupil meditates upon Vajrasattva while conceiving that a five-pronged vajra enters the lunar disc in his heart. The second salutation is made towards the southern quarter (the mandala of Ratnasambhava) in order to be consecrated. During this salutation, the pupil meditates upon Vajraratna while conceiving that a vajra-gem enters the lunar disc in his forehead. The third salutation is made towards the western quarter (the mandala of Amitabha) in order to set in motion the wheel of the Dharma. During this salutation, the pupil meditates upon Vajradharma while conceiving that a vq/ra-lotus


enters the lunar disc in his throat. The final salutation is made towards the northern quarter (the mandala of Amoghasiddhi) in order to pursue actions such as worshipping. During this salutation, the pupil meditates upon Vajrakarma while conceiving that a crossed vajra enters the lunar disc in his crown.225 Donjaku226 regards the above four salutations as the means of inducing the manifestation of the four Wisdoms, i.e. Mirror-like-Wisdom, Equality-Wisdom, Discriminating- Wisdom and Active-Wisdom respectively.

The second stage involves the pupil covering the face and clasping a garland. Since the red colour symbolises the Tathagata-family, the pupil wears a red upper garment and covers his face with a red bandage. Then he binds the appropriate mudrds and at the same time pronounces the appropriate mantras. “Then, (the pupil) who wears a red upper garment and whose face is covered with a red bandage should form the mudrd of Sattvavajri while (pronouncing) this hrdaya:-

‘SAMAYAS TVAM. (You are the pledge.)’ Then, after he has clasped a garland with his two middle fingers, (the vq/ra-master) should guide him to enter (the mandala) while (pronouncing) this hrdaya:-


‘S A M A Y A H U M '


This section deals with the preliminary activities for entering the family of all the Tathagatas, which indicates the family of the five Tathagatas. The mudrd of Sattvavajri is introduced at this stage on the principle that all the Tathagatas by nature are generated from Sattvavajri and the other three Paramita Bodhisattvas. In connection with the yoga, David Snellgrove interprets the first mantra, ‘SAMAYAS TVAM" as ‘You are now the union of your own human body and the supramundane element of Buddhahood.’227 The second mantra, ‘SAMAYA H U M is interpreted as the means for taking possession of the (five) Wisdom of all the Tathagatas.


The third stage involves the pupil to enter the mandala and take the vows with the vow-hr day as. “Then, when (the pupil) enters (the mandala), (the vq/ra-master) should say: ‘Now, you have entered the family229 of all the

225. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236-1-7-2-4; Tattvaloka, TTP. Vol. 71, No. 3333, p. 190-1-6-4-1.

According to the Kosalalamkdra, the above four salutations are made facing the west, the north, the east and the south respectively instead o f facing the east, the south, the west and the north. It can be understood that the four salutations are made facing the west on the mandala o f Aksobhya, facing the north on the mandala o f Ratnasambhava, facing the east on the mandala o f Amitabha and facing the south on the mandala o f Amoghasiddhi. In contrast, Sarvadurgatiparisodhana Tantra (Tadeusz Skorupski, p. 14) and Tattvaloka both support the above explanation.

226. TSD, Vol. 61, No. 2225, pp. 323-2-24-325-1-4.

227. David Snellgrove, Indo-Tibetan Buddhism, p. 220.

228. Tattvaloka, TTP. Vol. 71, No. 3333, p. 190-4-7-8.

229. Chinese 2 reads: “mandala”, instead o f “family”.


Tathagatas, I shall generate within you the vq/ra-knowledge,230 and you will obtain the attainment of all the Tathagatas through this knowledge as well as all the other attainments. But231 you should not tell anyone who has not seen the (Vajradhatu) Mahamandcila, otherwise your pledge will fail.’

Then, the vq/ra-m aster himself, having made the mudrd of Sattvavajri from the forehead down towards the mouth,232 and having placed it on the head of the vajra-pupil, should say:- ‘This is your pledge-vq/ra 233 If you divulge it to anyone, it will split your head.’

Then, (the vq/ra-master) blesses some water with the samayamudra (while pronouncing) the vow-hrdaya only once, and then he should induce his pupil to drink it Now this is the vowhrdaya:- ‘Now, Vajrasattva himself abides in your heart. If you speak of this precept, you will be destroyed immediately.’234 233‘ VAJRODAKA THAH. (Fq/ra-water!)’


Then, (the vq/ra-master) should say to his pupil ‘From now on, I am your Vajrapani. If I say to you, ‘Do this’, it should be done. And you should not despise me, otherwise you will die without avoiding misfortune and you will fall into hell.’ Having spoken thus, (the vq/ra-master) orders (his pupil) to say:- ‘May all the Tathagatas empower (me)! May Vajrasattva enter me!”’

Tantric rituals emphasise the making of a vow in the rite of initiation. In this case, according to the above rite, when the pupil enters the mandala and is consecrated, some vows are given to him by his master. Sakyamitra states that the vajraknowledge in this context indicates Vajravesa (Kq/ra-Enchantment),237 who is one of the four Guardians and completes the pervasion of the mandala by wisdom. Anandagarbha regards the vq/ra-knowledge as the imperishable knowledge which is endowed with the nature of the bhumis

In the fourth stage, the pupil receives the empowerment. By means of this empowerment, the pupil gains the supernatural knowledge (abhijnd). “Then, the vq/ra-master, having hastened to form the mudrd of Sattvavajri, should say this:-

23°. Tibetan omits: “vajra”.

23 k Tibetan inserts: “when such knowledge is generated”.

232. Chinese 2 omits: “from the forehead down towards the mouth”. Chinese 1 reads: “turning back”. Tibetan reads: “showing it towards the inside o f the mouth and outside”.

233. Tibetan reads: “your vo/ra-pledge”.

234. Both Chinese versions transliterate this verse without translating it.

235. Tibetan inserts: “OM”.

236. Only Chinese 2 transliterates this verse without translating it.

237. Kosalalam kdra, TTP. Vol. 70, No. 3326, p. 236-3-1.

238. Tattvaloka, TTP. Vol. 71, No. 3333, p. 190-4-8-5-1.


‘This pledge~vq/ra239 is recalled as Vajrasattva. May the highest va/ra-kno wledge enter you this very day.’


VAJRAVESA AH


Then, having closed his fist in anger, (the vq/ra-master) should burst open the mudrd of Sattvavajri (of his pupil), and then enunciate at will the Mahdydndbhisamaya (intuitive comprehension of the Mahayana) with the va/ra-sound.242 Then it enters (the pupil). As soon as it enters, the divine knowledge is generated (within him).243 Through this knowledge (the pupil) is aware of others' thoughts. He knows all the activities of the past, future and present. His heart becomes steadfast in the instructions of all the Tathagatas, all sufferings disappear and all fears244 cease. He is inviolable among all living beings. All the Tathagatas empower (him) and all attainments are present in such a (pupil). Unprecedented pleasures, which consist of spontaneous acts of joy, happiness and satisfaction, are generated. Through these pleasures, the samadhis are accomplished by some people, the dhdranis are accomplished by others, all wishes are fulfilled for some and even the reality of all the Tathagatas is made real for others. Therefore, having made the mudrd (of Sattvavajri), (the pupil) should release it over his heart245 by (pronouncing) this hr day a


‘TISTHA VAJRA DRDHO ME BHAVA, 5A&VATO ME BHAVA, bHRDAYAM ME \DHITISTHA, SARVA-SIDDHIM CA ME PRAYACCHA HUM, HA HA HA HA HOH.

(Vajra abide! Make me steadfast! Make me perpetual! Empower my heart! Bestow all attainments upon me!)”’

In this rite, ‘closing the fist in anger (krodhamustif means the gesture of making a hook with the forefinger of the left hand.246 By means of this hook, the mudrd of Sattvavajri is pulled and opened. Anandagarbha247 states that there are two different views concerning the term 'Mahdydndbhisamaya’. According to the first view, it is regarded as indicating the mantra: ‘VAJRASATTVA AH AH AH.’, which should be

239. Tibetan reads: “va/ra-pledge”.

240. Both Chinese versions transliterate this verse without translating it.

241. Tibetan inserts: “OM”.

242. Tibetan reads: “he should recite the words o f the Mahdydndbhisamaya at w ill”. Chinese 1 reads: “he should recite the one-hundred-letter mantra o f the Mahdydndbhisamaya with the vajra-sound at w ill”.

243. According to Anandagarbha, when the Lord Vajrasattva enters (the pupil) and pervades him, the excellent knowledge such as the five supernatural knowledges w ill be generated within him. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 191-3-1-3).

244 Chinese 1 reads: “misfortunes”.

245. Chinese 1 reads: “(The vay'ra-master) having bound this mudrd, releases it over the pupil's heart.” Chinese 2 reads: “(The vq/ra-master) having bound this mudrd, places it over his heart and releases it for the pupil.”

246. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236-4-2-3. 247. Tattvaloka, TTP. Vol. 71, No. 3333, p. 191-2-8-3-1.


recited one hundred times with the vq/ra-sound. According to the second view which is supported by Sakyamitra and Amoghavajra,248 it refers to the hrdaya consisting of one hundred letters, which makes human beings steadfast. Donjaku249 adds that *Mahdydndbhisamaya’ refers to the one-hundred-letter vidyd of the Vajra-family, mid. Mahdydndbhisamaya is another name of Vajrasattva. Sakyamitra and Donjaku250 both state that ‘vq/ra-sound’ means soundless.

In the fifth stage, the pupil throws the garland into the mandala in order to choose his deity and to gain the power of that deity.

“Then (the pupil) should throw his garland into the mahdmandala while (pronouncing) this hrdaya:-


‘PRATICCHA VAJRA HOH. (Accept, O VajraXy


Then, the spot where it falls down indicates the area in which (the pupil) will be successful.251 Then, having seized that garland, (the vq/ra-master) should bind it round the head of his (pupil) while (pronouncing) this hrdaya:-


'OM PRATIGRHNA TVAM IMAM SATTVAM MAHABALAH.


(You should seize this being. O Mighty One!)’

It is by means of that bond that (the pupil) becomes accepted by that Mahasattva, and becomes rapidly successful.”

By means of throwing the garland, the pupil's deity is chosen and indicated by the spot of the mandala where the garland falls down.253 Then the pupil is empowered by means of binding round his head the garland which symbolises his chosen deity. Next the pupil's face-cover is removed and he beholds the mandala in order to gain the supernatural ‘vq/ra-eyes’.

“Then, (the vq/ra-master) should remove the face-covering (of his pupil). When (the pupil) is thus accepted, he (pronounces) this hr day a:-


OM VAJRASATTVAH SVAYAM TE 'DYA CAKSUDGHATANA TAT PARAH UDGHATAYATI SARVAKSO VAJRACAKSUR ANUTTARAM.

(Today Vajrasattva himself is eagerly engaged in opening your eyes. One who casts his eyes everywhere opens the highest Kq/ra-eyes.)’


    • 'HE VAJRA PASTA. (He-vajra, see!)’


Then, (the vq/ra-master) should show the Mahdmandala (to his pupil) in the appropriate order. As soon as (the pupil) sees the maha-mandala, he is empowered by all the Tathagatas, and


248. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236-4-4; TSD. Vol. 18, No. 865, p. 218-2-7-8.

249. TSD. Vol. 61, No. 2225, p. 327-1-24-26.

250 Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236-4-4; TSD. Vol. 61, N o. 2225, p. 327-1- 2 3 -2 4 .

25b Both Chinese versions read: “Then where the garland falls down, there (the pupil) w ill be successful in the deity.”

252. Only Chinese 2 transliterates this verse without translating it. 253. TSD. Vol. 61, No. 2225, p. 328-2-28-3-1. 254. Chinese 1 inserts: “then one recites the seeing-mantra”.


Vajrasattva remains in his heart. He sees extraordinary occurrences and miraculous activities like the manifestations of the distinctive and exceedingly splendid mandala, etc. Due to (the pupil) being empowered by all the Tathagatas, sometimes the Lord Mahavajradhara also manifests himself in his bodily form or die (other) Tathagatas. Henceforth, all wishes, all thoughts, all pleasing activities, all attainments and even the essence of Vajradhara or the essence of the Tathagatas become accomplished.”

According to Sakyamitra, the mahd-mandala should be shown to the pupil in the order which starts with Vajranlcusa and ends with Vairocana.255 The Sanskrit term for ‘extraordinary occurrences’ is ‘prdtihdrya\ The final stage consists of three consecrations, namely, water-consecration, vayra-consecration and vayra-name-consecration.256 “Then, having shown the mahd-mandala (to tire pupil), (the vajramaster) should consecrate (his pupil) with perfiimed-water, which comes from the vq/ra-empowered vase, while (pronouncing) this hr day a:-


257 ‘VAJRABHISINCA. (O Vajra, consecrate!)’


Then, having bound the garland with one particular mudrd, and having placed a (pupil's) appropriate emblem onto (the pupil's) hand, (the vq/ra-master) should say the following ‘Now, you have been conferred upon you the vq/ra-consecration by the Buddhas. This is your Buddha essence. Seize the vajra for the purpose of complete attainment!’


'OM VAJRADHIPATI TVAM ABHISINCAMI TISTHA VAJRA SAMAYAS TVAM.

(I consecrate you as a Fq/ra-commander. Abide, O Vajra! You are the pledge!)’ Then, (the vq/ra-master) should confer upon (his pupil) the vajraname- consecration while (pronouncing) this hrdaya:-

OM VAJRASATTVA TVAM ABHISINCAMI VAJRANlMABHISEKATAHHE VAJRA NAMA.

(O Vajrasattva, I confer upon you the Fq/ra-name-consecration with the name of Hevajra.


The sound ‘HE’ should be uttered for the one whose name is bestowed.”


255. Kosalalamkdra, TTP. Vol. 70, No. 3326, p. 236-5-5-6. 256. Advayavajra, one o f the eighty-four Great Adepts, states: "There is the Jar (or Vase) Consecration, which is characterised as six jar-consecrations, for example, those o f water, crown, vajra, bell, name and master. The water-consecration corresponds to the Mirror-like- Wisdom o f Aksobhya, the crown-consecration to the Equality-Wisdom o f Ratnasambhava, the vq/ra-consecration to the Discriminating-Wisdom o f Amitabha, the royal-consecration to the Active-W isdom o f Amoghasiddhi, the name-consecration to the Pure-Absolute-Wisdom o f Vairocana and the master-consecration to Vajrasattva. (David Snellgrove, Indo-Tibetan Buddhism, p. 229).

252 Tibetan inserts: 25 8. Only Chinese 1 transliterates this verse without translating it.


The reason for guiding the pupil into the Vajradhatu Mahdmandala is, in a narrow sense, as Toganoo Shoun points out, to open the pupil's ‘heart's-eyes’ called the vajra-Qyes, which enable the pupil to see the real Buddha world,259 In a broad sense, as the STTS explains, it is to enable the pupil to accomplish the special goals such as the liberation of the entire and complete sphere of living beings, to work for the benefit and welfare of all and to realise the highest attainment (of enlightenment).


4. Mudra Rites


The tantric rituals in the STTS basically start with samddhi, proceed through to mandala and end with mudrd. The mudrd,261 in a broad sense, can be interpreted as the symbolic aspect of sealing a tantric ritual. However, in a narrow sense, it refers to the four mudras, namely, mahd-mudra, samaya-mudrd, dharma-mudrd and karma-mudrd. By means of these mudras, the sddhaka can rapidly attain his goals.


a. Function o f the Four Mudras

The metaphysical meaning of the four mudras and their implications relating to the mandala can be summarised in the following way. The maha-mudrd refers to the body of deity and is manifested as the bodily images of deities in the mandala', the samaya-mudrd refers to the mind of deity and is manifested as the attributes of deities in the mandala', the dharma-mudrd refers to the speech of deity and is manifested as the seed-syllables (bija) of deities in the mandala or as a fivepronged- vajra which symbolises the knowledge and in the centre of which each deity sits cross-legged and holds its own attribute at the heart; and the karmamudrd refers to the conduct of a deity and is manifested as the female images of deities in the mandala which symbolise the activities of worshipping. These four mudras can be also defined as referring to particular types of tantric practices. The karma-mudra refers to different activities on the experimental level; the dharmamudrd refers to becoming aware of the Absolute itself; the samaya-mudrd refers to the unity of the divine and the mimdane; and the mahd-mudra is identified with the Great Bliss.262 Together with the mudras, the pupil should perform the evocationritual (sadhana), which means using visualisation to realise his own deity, in order to gain the power of his own deity and to be able to use that power to benefit living beings.


b. Mudra-Knowledge o f the Four Attainments

259. Toganoo Sh5un, Mandara no kenlzyu, pp. 256-262.

26°. S. p. 6 6 -3 -5 , T. p. 229-5-1-2, C l. p. 217-2-26-27, C2. p. 353-1-8-10.

261. Dale Saunders defines the mudrd as the three categories, i.e. (1) seal or the mark made by a seal, (2) manner o f holding the fingers, (3) counterpart (salcti) of a god. (E. Dale Saunders, Mudrd', A Study o f Symbolic Gestures in Japanese Buddhist Sculpture, p. 7). 262. Tadeusz Skorupski, Sarvadurgatiparisodhana Tantra, p. 112.


According to Anandagarbha, in the case of those who have already obtained the pledge and the consecration in the mandala, the master should explain the knowledge of whatever attainments are wished for.263 Thus, the section of the Sanskrit STTS (pages 73-76), which follows after the section of the mandala-rite, describes the various methods of the samadhi for gaining the four categorised attainments. After pupils enter the mandala and are consecrated, as a result of the mandala-rite, they can be divided into two groups, namely, those who have seen something in the mandala and those who have not seen anything in it. For the first group, the mwJra-knowledge is taught to gain the four kinds of attainments (,siddhis), namely, the mwc/ra-knowledge of generating the attainment of wishes (arthasiddhi), the mudm-luiowledge of generating the attainment of supernatural vo/ra-powers (vajrarddhisiddhi), the rawt/ra-lcnowledge of generating the attainment of the supernatural powers of Vajravidyadhara (yajravidyadharasiddhi), and the /iwc&fz-knowledge of generating the supreme attainment of all the Tathagatas (sarvatathdgatottamasiddhi). The second group of pupils who are on the level {bhumi) of the transcendental world, can attain the highest perfect enlightenment by degrees.264 The STTS describes the four categorised attainments in the following way:-

b-1. The Attainment o f Wishes (.Arthasiddhi) “One should visualise an image of a vajra stored in the treasure in the heart. While visualising it, one sees the treasure troves stored in the ground.

Having drawn an image of a vajra, one should visualise it in the sky. If one sees where it may fall, one can locate a treasure there. A wise man should visualise an image of a vajra on his tongue. It exists in reality through his words: ‘Here it is.’ One should visualise an image of a vajra in one's whole body. (If one sees) where it has entered and may fall, one can locate a treasure there.”

In this context, the attainment of wishes refer to gaining precious stones such as gold. According to Sakyamitra, when the sddhaka consecrates himself by means of the above methods, he joins in the meditation of a whole day during one month or up to four months and worships (his deity) by offering articles of scent, flowers and perfume, etc.266 Since the above rite of yoga is performed by means of meditating upon the means {updya) such as the vajra, it is called the knowledge of the mudrd. The various methods of gaining treasures are explained in part four of


263. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 135-2-8-3-3.

264. Kosalalamkdra, Vol. 70, No. 3326, p. 237-2-3-4.

265. S. p. 7 3 -7 -14 , T. p. 230-5-2-4, C l. p. 219-1-19-26, C2. p. 354-3-5-12. 266. Kosalalamkdra, Vol. 70, No. 3326, p. 237-2-6-8.


the STTS which deals with the Gem-family because the Gem-family specialises in the gaining of wealth.

b-2. The Attainment o f Supernatural Vajra-powers (Vajrarddhisiddhi) “When one enters die state of the vajra-possession (vajrdvesa), one should concentrate on water267 as reflecting an image of a vajra. If one is successful quickly, one can walk on the surface of water.

When one enters the state of the (vajra-) possession in like manner, whatever form one visualises as oneself, that itself becomes even a form of the Buddha.

When one enters the state of the (vajra-) possession in like manner, one should visualise oneself as being equal to the space. As long as one wishes, one can enter a state of invisibility. While being in a state of the vq/ra-possession, one should visualise oneself as a vajra. As long as one ascends to a position, one can fly in the space.”

In terms of the mudras, this rite is regarded as the mahd-mudra. In this context, the vq/ra-possession means that one meditates on the subtle-vq/ra and makes it steadfast.269 In the statement, “one should visualise oneself as a vajra”, a vajra indicates Vajrasattva.270 The various methods of attaining the supernatural powers are explained in part three of the STTS which deals with the Lotus-family because the Lotus-family focuses on the supernatural powers.

b-3. The Attainment o f Vajravidyddhara (Vajravidyddharasiddhi) “Having drawn an image of the moon (in the mind), one should ascend to the summit of the sky. Visualising a vajra in the hand, one can possess the power of Vajravidyadhara. Having ascended to an image of the moon (in the mind), one should visualise a vajra-gem. As long as one wishes oneself as pure, one can fly instantly.

One should ascend to an image of the moon (in the mind). Visualising a vq/ra-lotus existed in the hand, one can be given by Vajranetra the position of Vajravidyadhara. Sitting on the centre of a lunar disc, one should visualise an actionvajra. From possessing the universal vajra, one can quickly possess the power of the universal formula.”271 The term ‘Vajravidyadhara’ means the holder of the formula which is exhibited by means of the vajra or which accomplishes the vajra-mudra. The mudrd of Vajravidyadhara consists of the four mudras, i.e. mahd-mudra, samaya-mudrd, 267. Chinese 2 reads: “va/ra-water”.


268. S. p. 74-2~9, T. p. 230-5-5-8, CL p. 219-2-1-8, C2. p. 354-3-19-26.

269 Kosalalamkdra, Vol. 70, No. 3326, p. 237-3-8.

270 Ibid., p. 23 7-4-7-8. 271. S. p. 7 5 -3 -1 0 , T. p. 231-1-1-3, C l. p. 219-2-12-19, C2. p. 355-1-5-12.


dharma-mudrd and. karma-mudra212 According to Anandagarbha, having performed the deity -yoga (which is united with the chosen deity in samadhi), the sddhaka should visualise as himself the four Mahabodhisattvas abiding in the lunar discs, namely, Vajrasattva, Vajraratna, Vajradharma and Vajrakarma respectively, while reciting the relevant hrdayas, i.e.

VAJRADHARA, RATNADHARA, DHARMADHARA and KARMADHARA.


b-4. The Supreme Attainment o f All the Tathagatas (Sarvatathdgatottamasiddhi) “Having entered the entire vajra-samadhi274 in the spheres of space, as long as one wishes oneself as a vajra, one can fly instantly.

Joining in the entire pure samadhi,215 one attains the supreme five supernatural knowledges, and becomes quickly accomplished in knowledge.

Recollecting ‘Entire space consists of Vajrasattva.’, if one makes the recollection steadfast, one can become oneself as Vajradhara instantly.

Having released the entire Buddha-image in the spheres of the sky, one will attain the Buddha-essence in the samddhis of all the Buddhas.”

In this context, ‘All the Tathagatas’ means the Buddhas and Bodhisattvas.277 The term ‘entire vajra-samddhV means the samadhi of meditating on the entire vajra which symbolises the Bodhisattva Mahasattva exhibited by means of a crossedvajra containing twenty tops.278 The five supernatural knowledges (abhijhd) consist of

(1) divine eyes (divyacalssus),

(2) divine ears (divyasrotra),

(3) mind reading (paracittajhdna),

(4) recollection of the previous existence (purvanivdsanusmrti) and

(5) miraculous powers (.rddhi).279 According to Sakyamitra,280 the above four sentences correspond to four attainments related to the four families, i.e. Karma-, Dharma-, Ratna- and Tathagata-families respectively. The above rite reflects a method, by which the sddhaka gradually


272. Kosalalamkdra, Vol. 70, No. 3326, p. 237-5-1~3.

273. Tattvaloka, TTP. Vol. 71, No. 3333, p. 197-1-5-3-1.

274. Chinese 2 reads: “universal vajra-samadhi”.

275. Chinese 2 reads: “samadhi o f purifying the beings”. Tibetan reads: “samadhi o f purifying all actions.”

276. S. p. 7 6 -3 -1 0 , T. p. 231-1-4-7, C l. p. 219-2-23-3-1, C2. p. 3 55-1-20-27.

211. Kosalalamkdra, Vol. 70, No. 3326, p. 238-1-8,

27S. Tattvaloka, TTP. Vol. 71, No. 3333, p. 197-3-2-3.

279. Kosalalamkdra, Vol. 70, No. 3326, p. 238-2-7-8.

In addition, there is the sixth supernatural knowledge called knowledge o f the destruction of the passions (asravalcsayajnana). (For details about six kinds o f supernatural knowledges, see Ulrich Pagel, The Bodhisattvapitaka, pp. 216-240; Har Dayal, The Bodhisattva Doctrine in Buddhist Sanslcrit Literature, pp. 110-134).

280. Kosalalamkdra, Vol. 70, No. 3326, p. 238-2-1-3-7. .


reaches from the attainment of the lower level to the highest level, that is, the attainment of Buddhahood.

In conclusion, the samadhi-rites for attaining the above four types of supernatural powers are introduced here in order to develop the intrinsic ability of the sddhaka and in order to encourage him to achieve the ultimate goal, that is, complete enlightenment.


c. Secret Rite


According to the STTS,m the secret rite in this section consists in three activities, i.e. taking vows, binding the secret mudras and performing a secret sadhana. Firstly, taking vows is essential particularly in the secret rites because all the secret rites described in the STTS involve sexual practices which are regarded as heterodox. At this stage, the pupil receives a vow-hrdaya2n and takes vows. Secondly, the rite of binding the secret mudras is performed in the state of generating the v^/ra-possession283 through samadhi, and it consists of four movements of hand gestures:

(1) clapping gently the hands forming the vajraanjali,

(2) clapping gently the hands forming the vajra-bond,

(3) stretching out the hands forming the vajra-bond and clapping equally the tips of the two forefingers,


(4) placing equally all the fingers and releasing the vajra-bond. Finally, the rite of performing a secret evocation (guhya-sddhana) is described in the following way:- “One should enter the orifice (bhaga) of a female or a male body. Having entered it completely with the mind, (one should imagine that) one embraces its entire body equally.”

According to Anandagarbha, these four hand gestures are also used for the evocation rite together with the four relevant mantras,285 This yoga-rite is one of the rapid ways of attaining Buddhahood, and is suitable especially for those who have a passionate nature.286 Since this secret method requires a perfect union in samadhi between the sddhaka and his deity, it is expressed symbolically as the sexual union between the sddhaka and the female deity.

2S1. S. pp. 7 7-78-8, T. p. 231-1-7-2-5, C l. pp. 219-3-5-220-1-8, C2. p. 355-2-6-28.


OM VAJRASATTVAH SVAYAM TE 'DYA HRDAYE SAMAVASTHITAH, N1RBHIDYA TA TKSANAM YA YAD YADIBR UYADIDAN NA YAM


This vow -hrdaya has already appeared in the third step o f the previous pupil's mandala-rite, However, in the previous, it has been regarded not as a mantra but as a verse.

283. Concerning “generating the vayra-possession”, Sakyamitra states that it means “performing the yoga o f Vajrasattva”. (.Kosalalamkdra, Vol. 70, No. 3326, p. 238-4-6). Anandagarbha regards it as a kind o f secret yoga, which refers to the union with a female deity such as Sattvavajri. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 198-1-3-5).

284 S. p. 7 8 -2 -3 , T. p. 231-2-4-5, C l. p. 220-1-5-6, C2. p. 355-2-22-23.

285. According to Anandagarbha (Tattvaloka, TTP. Vol. 71, No. 3333, p. 198-3-6-5-3), the four mantras are VAJRA VARA HOH, VAJRA VE^A AH, VAJRAHANA HUM and VAJRAHARA HAM respectively. The Sanskrit STTS (S. p. 78-5-8) slight differently reads: "VAJRAVASA, VAJRA VISA, VAJRAHANA and VAJRAHARA”.

286 Tattvaloka, TTP. Vol. 71, No. 3333, p. 198-1-2. 85


d. Rites of the Four Mudras


The STTS287 explains the preliminary rites of binding the four m udras of the thirtyseven deities of die Vajradhatu Mahdmandala. In addition, each mudrd section includes a common method of accomplishing the mudras of the deities and the benefits acquired as the result. When examined carefully, diere is no major difference between the benefit of the mahd-mudra of a deity and the benefits of the other three mudras. The benefits of the four mudras of Vajrasattva are an example:- “One can accomplish (the status of) Vajrasattva by binding the mudrd of Sattva (which indicates the maha-mudra of Vajrasattva ),”

“If one forms (the hand gesture of) Sattvavajri, one can become identical to Vajradhara.”

“If one says: ‘SAMAYAS TVAM (which is the dharma-mudrd of Vajrasattva), one can become the ruler of all mudras.”291 “Having made firmly the vajra-pride (which indicates the karmamudrd of Vajrasattva ), one can gain die pleasure of Vajrasattva.”

According to the commentary of Anandagarbha on this four mudras section: “The desired attainments and other matters are to be achieved by the sddhaka through generating deity-yoga by means of the self-blessing and so forth, together with the benefits so that the sddhaka should also generate cheerfulness (Tibetan spro ba).”294 Since the pupil's own deity is chosen after the mandata-ritual, it is enough for the pupil to practise only the four mudras of his chosen deity, and not all those belonging to the other thirty-six deities. The pupil identifies with his deity as the result of performing the rites of the four mudras of his deity. However, these four mudras are efficacious only for those who have already obtained the pledge and the consecration in the mandala because, according to the STTS,295 they are meaningless and ineffective without seeing the mahd-mandala.


d-1. Mahdrnudrd Rite


The mahd-mudra representing the body of deity can be defined as visualising the image of the deity in samadhi. Thus, the evocation-ritual (sadhana), which guides the sddhaka to visualise the image of his deity effectively, is essential to this maha-

287. S. pp. 7 8 -9 -9 1 , T. pp. 231-2-5-232-5-8, C l. pp. 220-1-9-222-2-18, C2. pp. 355-3-1-358-1-

288. Tattvaloka, TTP. Vol. 71, No. 3333, p. 203-3-6-7.

289. S. p. 81-13, T. p. 231-4-4, C l. p. 220-2-24, C2. p. 356-1-19.

290 S. p. 85-6, T. p. 232-2-1, C l. p. 221-2-2-3, C2. p. 357-1-10.

291. S. p. 87-4, T. p. 232-2-8-3-1, C l. p. 221-2-27, C2. p. 357-2-7.

292 Kosalalamkdra, Vol. 70, No. 3326, p. 248-4-2-3.

293. S. p. 90-15, T. p. 232-5-2, C l. p. 222-1-25-26, C2. p. 358-1-8.

294. Tattvaloka, TTP. Vol. 71, No. 3333, p. 135-3-3-4. 295. S. p. 78-12-14, T. p. 231-2-6-7, C l. p. 220-1-11-12, C2. p. 355-3-3-4.


mudrd rite. The method of evoking all the five Tathagatas begins with the five abhisambodhis

“Beginning with examining thought, one should meditate upon Vajrasurya {Vajra-sun). While (uttering) ‘ Vajradhatu'1, one should transform oneself into an image of the Buddha.”

The phrase “beginning with examining thought” refers to “the five abhisambodhis” . 297 Thus, the means of the five abhisambodhis, the sddhaka, at first, should recognise the nature of the five Tathagatas. Then, he should bind the karma-mudrd of Vajrasurya (alias Vajratejas) and visualise a luminous circle which is called the sun-mandala. Concentrating on it, he should diffuse its brightness up to the space-realm.298 Finally, he should visualise the five Tathagatas1 bodily images as himself while reciting the mantra “VAJRADHATU’ which is regarded as a common mantra to all the five Tathagatas. According to Anandagarbha, before the sddhaka visualises the five Tathagatas' bodies, he should form the hand gestures {samaya-mudrd) of the five Tathagatas.299 As the result of the above rite, the sddhaka can attain knowledge, longevity, power, youth, omnipresence, and even Buddhahood.

The method of evoking Vajrasattva, which is originally entitled “Mahamudra- Bond of Evoking Vajrasattva” (Vajrasattva-sddhana-mahdmudra-bandha) focuses on the visualisation of the image of Vajrasattva who holds a bell in his left hand and a vajra in his right hand,301 and realising the union with Vajrasattva:- “While waving the vajra of pride, one should generate the vajrapride (in one's mind). Then by means of the body, speech and mind vajra, one should transform oneself into Vajrasattva.”

Sakyamitra regards the term “vq/ra-pride (’vajra-garva)” as referring to die mahamudra of Vajrasattva. He adds that “the vajra of pride” means “placing with pride die vajra-f\st of the left hand on the side of body and holding a five-pronged vajra in the right hand”.303 Slightly differing from Sakyamitra's view, Anandagarbha describes the left hand of Vajrasattva holding a bell with the vny'ra-fist.304 In terms of the body, speech and mind vajra, the body-vajra means abiding in the realm of Vajrasattva by imitating the (Vajra-) Sattva's posture of sitting cross-legged; the speech-vo/m means pronouncing VAJRASATTVA, while visualising a white five296.


S. p. 79-2-3, T. p. 231-2-8-3-1, Cl. p. 220-1-15-16, C2. p. 355-3-8-9. 297. Kosalalamkdra, Vol. 70, No. 3326, p. 239-4-3-4; Tattvaloka, TTP. Vol. 71, No. 3333, p. 199-4-7-5-4.

298. Kosalalamkdra, Vol. 70, No. 3326, p. 239-4-4-6.

2" . Tattvaloka, TTP. Vol. 71, No. 3333, pp. 199-5-8-200-1-2.

300 S. p. 79-4-5, T. p. 231-3-1-2, Cl. p. 220-1-17-18, C2. p. 355-3-10-11.

30f Cf. the previous two sections including some descriptions about the image of Vajrasattva. ( Vajra-Samddhi and Structure of the Vajradhatu Mahdmandala).

302 S. p. 79-9-10, T. p. 231-3-2-3, C l. p. 220-1-21-22, C2. p. 355-3-13-14.

303. Kosalalamkdra, Vol. 70, No. 3326, p. 239-5-4—7.

304. Tattvaloka, TTP. Vol. 71, No. 3333, p. 200-1-6-7.


pronged vajra on the tongue from the letter HUM; the mind-vajra means meditating upon Vajrasattva.305 By means of the body, speech and mind vajra, the sddhaka realises the nature of Vajrasattva. According to the STTS,306 the images of all the other deities from Vajraraja up to Vajravesa holding their symbols can also be visualised by means of using the method of the body, speech and mind vajra. Having empowered himself with one of the above rites corresponding to his deity, the sddhaka performs the following rite in order to perfect the maha-mudra of his deity:-

“(a) Having generated (in samadhi) die state of vay'ra-possession (vajra-avesa)301 and having bound the mahd-mudra in conformity with die rite, one should visualise the Mahasattva (Vajrasattva) in front of oneself. Having seen this as Jnanasattva, one should visualise it in one's body. Having summoned, drawn in, bound and subdued it, one can be successful.

In this case, these are the hrdayas

VAJRASATTVA, AHd '

This is the hrdaya of the vq/ra-possession.

VAJRASATTVA, DR&YAV

This is the hrdaya of recollecting die Mahasattva.

UAH HUM VAM HOH. ’

This is the hrdaya of summoning, drawing in, binding and subduing the Mahasattva,

(b) Having proclaimed: 'SAMAYAS TVAM.\ one should enter the lunar (disc) behind, (which is drawn in one's mind). Then one should visualise oneself as (Vajra-) Sattva, while saying: lSAMAYAS TVAM, AHAM. (You are the pledge, I [am you].)’.

(c) One should visualise oneself as the mudrd of any (Maha-) Sattva, and should accomplish the perfecting of all the mudras through vq/ra-recitation.

(d) Furthermore, the superior evocation (is accomplished), if one can lead all the Buddhas into (one's) body by means of the efficacy (sadhu) of mind while reciting: UAH HUM VAM HOH.5”308 This rite is explained as focusing 011 Vajrasattva out of the thirty-seven deities, because the mahd-mudras of the other deities can be accomplished through realising the nature of Vajrasattva.309 The rite is defined as referring to deityyoga,


310 by which the sddhaka attains complete union with Jnanasattva.311

305. Ibid., p. 200-2-2-3.

306. S. p. 79-13-14, T. p. 231-3-4, Cl. p. 220-1-25-26, C2. p. 355-3-17-18.

307. According to Anandagarbha, the way of generating the status of vq/ra-possession is that the sddhaka binds the (samaya-) mudrd of Vajravesa while pronouncing: ‘VAJRAVESA’, and then he leads a vajra into his heart while reciting: 'AH \ (Tattvalolca, TTP. Vol. 71, No.

3333, p. 201-3-8-4-1).

308. S. pp. 80-2-81-6, T. p. 231-3-6-4-2, C l. p. 220-2-3-17, C2. pp. 355-3-24-356-1-12.

309. Kosalalamkdra, Vol. 70, No. 3326, p. 241-2-3-5.

310 Ibid., p. 240-4-5.


Paragraph (a) describes the process of cognition of the sddhaka in connection with the objects. The sddhaka begins with visualising ‘a five-pronged vajra inside the moon’ which symbolises the lack of essence in dharmas, and recognises Vajrasattva as himself generated from the vajra. Then he realises Jnanasattva abiding in the nature of Vajrasattva, and leads it into his body. Paragraph (b) explains the way of making steadfast the union between the sddhaka and Jnanasattva as Vajrasattva. The mantra: ‘SAMAYAS TVAM. together with the samaya-mudrd helps the sddhaka to generate the mandala in his mind. In this mandala which is drawn in the mind, he transforms the actual deity known as Jnanasattva into the symbol of the deity known as Samayasattva.312 Then he realises Vajrasattva abiding in the mandala as himself. Paragraph (c) denotes the method of perfecting the mahd-mudras of the other deities ranging from Vajraraja up to Vajravesa. The way of perfecting the maha-mudra of Vajraraja, for example, begins with the sddhaka meditating upon a vq/ra-hook which symbolises Vajraraja, and recognising Vajrasattva as himself generated from the vajra-hook. Then he realises Vajraraja as himself in the nature of Vajrasattva, and leads him into his body. Paragraph (d) refers to the way of perfecting the mahd-mudras of all the five Tathagatas. The purpose of this mahdmudrd rite in brief is that by means of visualising the image of deity, one is identified with the deity, and eventually attains enlightenment with the support of the deity.


d-2, Samayamudra Rite


The samaya-mudrd representing the mind of the deity is manifested as forming the hand gesture. Thus, in the samaya-mudrd rite, the sddhaka forms a peculiar hand gesture which symbolises his deity's mind. According to the STTS,313 all the hand gestures described in the samaya-mudrd rite begin with forming the vq/ra-bond (vajra-bandha). This vq/ra-bond is defined as the well bound vajra-anjali. The way of forming the vajra-anjali is that the palms of the hands (anjali) are held firmly, and all the fingers are boimd together.

The methods of binding the samaya-mudrds of the five Tathagatas out of the thirty-seven deities are quoted from the STTSil4 as examples:-

“(1) Vairocana: Making firmly (the mudrd of) Sattvavajri315 (which is formed by) raising the middle fingers (of the vajrabond) like a sprout symbolises (the mudrd of the first Buddha).


(2) Aksobhya: Drawing together the middle fingers (of the vajrabond) inward symbolises (the mudrd of) the second Buddha.316 311. Tattvaloka, TTP. Vol. 71, No. 3333, p. 201-3-7-8.

312 Concerning the relationship between Jnanasattva and Samayasattva, see David Snellgrove, Indo-Tibetan Buddhism, p. 131 & p. 222.

313. S. p. 83-2-4, T. p. 231-5-5-6, Cl. p. 220-3-24-26, C2. p. 356-3-2-4.

314. S. p. 83-6-9, T. p. 231-5-6-7, C l. pp. 220-3-28-221-1-2, C2. p. 356-3-6-9.

315. Only Tibetan reads: “vcyra-bond”, instead of “Sattvavajri”.

316. Chinese 2 adds: “Aksobhya”.


(3) Ratnasambhava: (Making a form of) a jewel with the middle fingers and the thumbs317 (of the vajra-bond) symbolises (the mudrd of the third Buddha).

(4) Amitabha: Shrinking together the middle lingers (of the vajrabond) like a lotus symbolises (the mudrd of the fourth Buddha).

(5) Amoghasiddhi: Bending the forefingers (of the vo/ra-bond) in like manner symbolises the mudrd of the fifth Buddha.”3

The STTS319 outlines a common way of perfecting these five samaya-mudrds and the other thirty-two samaya-mudras

“One places the (samaya-) mudrd of one's (deity) at (one's) heart while joining in the vajra-samadhi of (Vajra-) Sattva.”

From this description it is significant that the activity of binding the samaya-mudrd is a meaningless hand gesture, unless accompanied by concentration upon an object such as a vajra or the moon. In the light of the commentaries,321 if the sddhaka binds and places the samaya-mudrd of his deity at his heart while joining together a five-pronged vajra and the moon visualised in his heart, he will be successfLil. As the result of this rite, the sddhaka is identical to his deity and so gains the power of the deity.


d-3. Dharmamudra Rite


The dharma-mudra representing the speech of the deity focuses on sound and is displayed as a form of mantra. Thus, all the dharma-mudrds are generated from the tongue. This section of the STTS322 contains information about the dharmamudrds, which are manifested as mantras and refer to the thirty-three deities excluding four Paramitas.323 For example, the dharma-mudrd common to all the five Tathagatas is manifested as the mantra ‘ VAJRAJNANAMj which gathers all the five Tathagatas to make steadfast the Vajradhatu?

According to the STTS, the means of perfecting the dharma-mudrds of the thirty-seven deities is by meditating on a vajra on the tongue.326 Thus, the dharma-

317. Tibetan omits: “thumbs”.

318. According to Anandagarbha, the samaya-mudrds described in (3), (4) and (5) correspond to

Ratnasambhava and Ratnavajri, Amitabha and Dharmavajrf, and Amoghasiddhi and Karmavajri respectively. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 204-3-5—4-3).


319. S. p. 85-2, T. p. 232-1-7-8, C l. p. 221-1-27-28, C2. p. 357-1-6.

320. Tibetan reads: “Vajrasattva-samadhi

321. Kosalalamkdra, Vol. 70, No. 3326, p. 245-1-5-7; Tattvaloka, TTP. Vol. 71, No. 3333, p. 205-4-7-5-3.

322. S. pp. 87-88, T. p. 232-2-8-3-8, C l. p. 221-2-24-3-23, C2. p. 357-2-4-3-5.

323. The STTS in this section omits the dharma-mudrds of four Paramitas (i.e. Sattvavajri, Ratnavajri, Dharmavajri and Karmavajri) because their names are identical to their dharmamudrds. {Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-3-8).

324. Sanskrit and Chinese 2 do not regard this VAJRAJNANAM as a mantra.

325. Sakyamitra interprets the term Vajradhatu as the Vajradhdtu-mandala. {Kosalalamkdra, Vol. 70, No. 3326, p. 246-1-6-7). However, Anandagarbha regards it as the Body, Speech and Mind Vajra of all the Tathagatas. {Tattvaloka, TTP. Vol. 71, No. 3333, p. 206-4-7-8).

326 S. p. 88-12, T. p. 232-3-7, Cl. p. 221-3-23,C2. p. 357-3-5.


mudrd rite consists of two activities, namely, reciting the appropriate mantra and meditating on a vajra on the tongue. For example, the method of accomplishing the dharma-mudrd of all the five Tathagatas is when the sddhaka thinks himself as pure by nature and meditates on a white five-pronged vajra on his tongue while reciting the mantra VAJRAJNANAM, then his body, speech and mind become a vajra,327


d-4. Karmamudra Rite


The karma-mudra representing the conduct of the deity, in a narrow sense, is defined as imitating the posture and especially the hand gesture of the deity. Both the samaya-mudrd and the karma-mudra are displayed as a form of hand gesture, the difference being that the latter consists in the hand gestures made by the thirtyseven deities, which appear in the mandala. In addition, all the hand gestures of the samaya-mudrds are generated from the vq/ra-bond (yajra-bandha), but all the hand gestures of the karma-mudras are generated from the two separated vq/ra-fists (vajra-musti). According to the STTS on the preliminary activity of the karmamudras, having made a va/ra-fist firmly, one should divide it into two while performing the yoga (of his deity). From making the two vajra-mudrds (which refer to the two separated vajra-fists made by the hands), die binding (of all the karma-mudras) begins.328 The karma-mudras of the five Tathagatas are as follows in the STT&™\-

“(1) Vairocana: The vayra-(fore) finger of the left hand is raised and seized by the right (vn/'ra-fist). This hand gesture called supreme enlightenment bestows die enlightenment of the Buddha.


(2) Aksobhya: The hand gesture of Aksobhya is known as earthtouching (which is made by sitting cross-legged, placing the left vajra-fist on the hip, stretching out the right vajra-fist towards the right knee and touching the earth a little with the fingertips330).


(3) Ratnasambhava: The hand gesture of Ratnasambhava is known as wish-granting (which is made by sitting cross-legged, placing the left vajra-fist on the hip, and forming a gesture of giving by stretching out all the fingertips of the right vayra-fist331).


(4) Amitabha: The hand gesture of Amitayus (alias Amitabha) is known as supreme samadhi (which is made by sitting crosslegged, placing the two vajra-fists on the hip, joining together the


327. Tattvaloka, TTP. Vol. 71, No. 3333, p. 206-4-8-5-1.

328. S. p. 89-2-3, T. p. 232-3-8-4-1, C l. p. 221-3-24-26, C2. p. 357-3-7-8.

329. S. p. 89-4-7, T. p. 232-4-1-2, Cl. pp. 221-3-26-222-1-1, C2. p. 357-3-9-12.

330 Kosalalamkdra, Vol. 70, No. 3326, p. 247-2-7-8; Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-4-8-5-1.

331. Kosalalamkdra, Vol. 70, No. 3326, p. 247-2-8-3-2; Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-5-2-3.


fingernails of the two bent forefingers, and meeting each tip of the two thumbs downwards with each of the two forefingers332), (5) Amoghasiddhi: The hand gesture of Amoghasiddhi is known as granting fearlessness (which is made by sitting cross-legged, placing tire left vajra-fist on the hip, and forming a gesture of granting fearlessness by stretching out all the fingertips of the right vnyra-fist333).”

The means of perfecting the karma-mudras of the thirty-seven deities is by meditating on a crossed vajra in the heart.334 While meditating on a crossed vajra in his heart, the sddhaka forms the karma-mudra of his deity to gain the power of his deity.

In conclusion, even though the STTS arranges and explains the four mudras in the sequence: mahd-, samaya-, dharma- and karma-mudras, Anandagarbha rearranges them as the following: samaya-, dharma-, karma- and mahd-mudras, and asserts that the sddhaka accomplishes with the samaya-mudrd, arranges with the dharma-mudrd, attends to marvellous action with the karma-mudra, and stabilises in the manner of consecration with the mahd-mudra?35 In addition, to summarise the origins of each of the four mudras: while the original cause (Tibetan gzhi) of the four mudras is the mahd-mudra, the original causes of the mahdmudras, the samaya-mudrds, the dharma-mudrds, and the karma-mudras are the mind, the vajra-bond whose origin is the vajra-anjali, the tongue, and the separated vayra-fists whose origin is the vajra-fist of the samaya-mudrd respectively.336


d-5. Rite o f Discharging the Four Mudras


According to the commentary by Anandagarbha337: “When the mind becomes tired of recitations and meditation, during each interval between meditational sessions, the sddhaka should perform the rite of discharging each of the mudras of his deity, and ask his deity to leave. Next there follows the section which explains a relevant rite, starting with the words, ‘Now comes an extensive rite of liberation common to all the mudrds'33% and ending with the words, ‘This has been said by the Lord

332 Kosalalamkdra, Vol. 70, No. 3326, p. 247-3-3-4.

Anandagarbha explains that this hand gesture is formed by stretching out all the fingers of the two va/'ra-lists, and making the tips of the (two) thumbs meet each other like holding an alms-bowl. (Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-5-4).

333. Kosalalamkdra, Vol. 70, No. 3326, p. 247-3-4-5; Tattvaloka, TTP. Vol. 71, No. 3333, p. 207-5-5-6.

334. S. p. 90-8, T. p. 232-4-7-8, C l. p. 222-1-18-19, C2. p. 358-1-1.

335. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp. 235-237.

336. Kosalalamkdra, Vol. 70, No. 3326, p. 251-3-2-6.

337 Tattvaloka, TTP. Vol. 71, No. 3333, p. 135-4-5-7.

33S. atha satvamudrdnam sdmanyo moksavidhivistaro bhavati: S. p. 96-1, T. p. 233-2-4-5, C l. p. 223-1-5-6, C2. p. 358-3-22.


Samantabhadra’”339 The method of discharging the mudrd which is common to all the four mudras is explained in the STTS

“(a) At first, one should discharge (each of all) the mudras from where it has been generated with the hrdaya: ‘ VAJRA MUET.340


(b) Then, one should consecrate (all the mudras) by placing the mudrd of Ratnavajri341 arisen from (one's) heart at the consecration-region of one's (body). After that, one should make the armour, on which the garland is tied, with the two forefingers together with the following hrdaya (and put the armour on all the mudras):-

OM 342RATNA-VAJRABHISIMCA. (Ratnavajra, consecrate!)’

‘SARVA-MUDRA ME DRDHI-KURU VARA-KAVACENA VAM.

(Make steadfast all the mudras to me with the encircling armour!)’ (c) Then, when one discharges the armour on which the garland is tied, by making the palms equal, one should satisfy343 (all the mudras) with the hrdaya'. ‘

VAJRA TUSYA HOHT

Those whose mudras are discharged, bound and satisfied with this rite will obtain the vq/Az-essence, and become identified with Vajrasattva.

Reciting: ‘Vajrasattvah’ once gives the joy that is wished for. As soon as one recites it, one is successfril, as Vajrapani has said.”345 Paragraph (a) explains that each mudrd is discharged at its own particular region between the heart and the crown of the head, where it is generated. In the case of Vairocana, for instance, while reciting: ‘ VAJRADHATU, the sddhaka binds the samaya-mudrd of Vairocana at the crown of his head which is considered the abode of Vairocana. Then, while reciting: * VAJRA M UH\ he discharges it at his crown, and meditates on discharging all the mudras of Vairocana.346 Paragraph (b) deals with the methods of consecrating and making steadfast all the mudras. Concerning the method of the consecration, Anandagarbha347 explains that the sddhaka binds the samaya-mudrd of Akasagarbha at his heart, and places it between his eyebrows. Then, if he consecrates all the mudras with the hrdaya: iVAJRARATNA-ABHISINCA\ all the mudras are consecrated by the gem-diadem of

339, aha bhagavan samantabhadrah: S. p. 97-3, T. p. 233-2-8-3-1, C l. p. 223-1-20, C2. p. 359- 1- 12.

34°. According to Sakyamitra, the hrdaya: ‘ VAJRA MUTT is used only for the Tathagata-family and the Fb/Va-families. For the Padma-family, the hrdaya: ‘PADMA MUTT, and for the itaftia-family, the hrdaya: ‘RATNA MUIR are used. (Kosalalamkdra, Vol. 70, No. 3326, p. 251-3-8-4-1).

341. Both Chinese versions read: “mudrd o f Vajraratna”.

3 4 2 . Tibetan and both Chinese versions read: “VAJRA-RATNA”, instead of “RATNA- VAJRA’.

343. Chinese 2 reads: “makes the vajra-satisfaction”.

344. Chinese 2 reads: “if one discharges the consecration-bond with this mudrd and vidya, and makes (the mudrd of) satisfaction”. Chinese 1 regards “rite” as “vidya".

345. S. pp. 96-2-97-2, T. p. 233-2-5-8, C l. p. 223-1-7-19, C2. pp. 358-3-23-359-1-11.

346 Tattvaloka, TTP. Vol. 71, No. 3333, p. 210-4-3-8.

347. Ibid., p. 210-4-8-5-2.


all the Tathagatas. The means of making steadfast all the mudras is for the sddhaka to make the mudras of the armour and the garland with his two forefingers, and then putting and tying them onto his deity in samadhi. Paragraph (c) explains the final activity of this rite, that is, the means of satisfying the deity, which is invoked by the sddhaka, by drawing the palms together. As the result of this rite, the body, speech and mind of the sddhaka becomes a vajra, and he becomes identical to Vajrasattva.


5. Conclusion


Before proceeding to the next chapter, it is important to note drat this chapter contains not only a unique rite, namely, the five abhisambodhis, but also the various basic and essential methods of tantra, which are closely related to the rituals described in the other chapters. This is one of the reasons that Amoghavajra gives priority to only this part of the STTS and translates it from the Sanskrit' into Chinese.

Some distinguishing features drawn from die exposition of the five abhisambodhis indicate a new way of attaining enlightenment. The rite of the five abhisambodhis consists of the five stages which correspond to the five Wisdoms and the five Tathagatas representing the five families. From die point of view of religious practices, this rite introduces a more developed form of yoga involving visualisations and recitations than die traditional yoga consisting of controlled breathing and simple concentration. The method of visualising the object, either the vajra or the moon, is the preliminary and essential practice for deity -yoga. The Vajradhatu Mahdmandala constitutes the foundation and structure for all twenty-seven mandalas described in the STTS. The exposition of die Vajradhatu Mahdmandala begins with the thirty-seven deities manifested by the vajra-samadhi of Sakyamuni as Vairocana on the summit of Mount Sumeru. These thirty-seven deities symbolise the thirty-seven knowledges. The significance of the mandalarites such as constructing and entering the mandala is, in a broad sense, to show not only the externally manifested Universal-Buddha-World but also the internally existing individual-Buddha-nature. In a narrow sense, the mandala-rites are considered a means by which the pupil is initiated and by which his deity is chosen. The mudrd-rites of the Vajradhatu Mahdmandala contain all kinds of tantricmediodological elements which are adopted by die other mandalas. In terms of the mudrd-knowledge and the four mudras, the /m/d/fi-knowledge is die means of developing the innate supernatural faculties of the sddhaka, and the four mudras are the means of generating the deity-yogu, by which the sddhaka invokes his deity and gains the deity's power. The ultimate purpose of both the mwdWz-knowledge and the four mudras is to reach enlightenment by training the body and mind of the sadhaka.


Finally, the rites described in the section of the mwJm-knowledge of the four attainments are composed in four sets of four verses ending with four corresponding mantras. These mantras which comprise of a few key words summarising the relevant rites serve two functions, namely, empowering the rite and helping the sddhaka to memorise the rite.


Chapter 2. Vajraguhya Vajramandala


Since most basic and essential ritual methods are introduced and explained in the Vajradhatu Mahdmandala as the key mandala, the expositions of the five other mandalas of the Vajradhatu are relatively brief. The exposition of Vajraguhya Vajramandala (or Vajraguhya Mahavajramandala)348 begins with the second samadhi called the supreme mandala-king, because the first and third samddhis in the STTS appear only once in the samadhi-section of the Vajradhatu Mahdmandala. This second samadhi in this chapter enumerates the names of the five Tathagatas, the sixteen Mahabodhisattvas, and so forth. The five Tathagatas, for instance, are manifested in the form of vidyd, i.e. Vajradhatvisvari, Vajravajrinl, Ratnavajrinl, Dharmavajrini and Kamiavajrim, and correspond to the five Tathagatas, namely, Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi respectively. According to Amoghavajra, this mandala contains thirty-seven deities, all of whom abide in the fonn of Paramita (Bodhisattvas).350 The Vajraguhya Vajramandala like the Vajradhatu Mahdmandala has the same number of deities but they are female and have different appearances. The thirtyseven female deities of this mandala are the consorts of the thirty-seven deities of the Vajradhatu Mahdmandala. The images of these female deities are shown in the Vajradhatu Guhyadharanlmandala of the Gobushinkan,351 which contains the


female images of thirty-four deities in total, i.e., Vairocana (though Vajradhatvisvari is the counterpart of Vairocana) and the thirty-three female deities excluding the four Internal Offerings described in the Sanskrit STTS. Each of the female deities drawn in this mandala sits on a lotus and holds her own symbol. In addition, one of the four Vajradhatu Mahdmandala352 at Alchi Monastery also consists of all the 34S. S. chapter 2. pp. 100-115, T. pp. 233-4-3-235-1-8, C2. pp. 359-2-20-362-3-3. 349. The sixteen Mahabodhisattvas in this mandala are divided into four family groups, i.e. Vajradhdranis, Ratnadhdranis, Dharmadhdranls and Sarvadharanis (or perhaps Kami ad ha ran is). Vajradhdranis include (1) Samantabhadra, (2) Tathagatankusi, (3) Ratiraga, (4) Sadhumati. Ratnadhdranis. include (5) Ratnottama, (6) Ratnolka, (7) Dhvajagrakeyura, (8) Hasavati. Dharmadhdranls include (9) Vajrambuja, (10) Adharani, (11) Sarvacakra, (12) Sahasravarta. Sarvadharanis include (13) Siddhottara, (14) Sarvaraksa, (15) Tejahpratyaharini, (16) Dharanimudra.


In addition, there are enumerated the names of the four Paramitas, i.e. Guhyasattvavajri, ’1 T Guhyaratnavajri, Guhyadharmavajri and Guhyakarmavajri, and the four Internal Offerings, ' ( ( , i.e. Vajraguhyaratipujasamaya (Vajralasya), Vajraguhyabhisekapujasamaya (Vajramala), Vajraguhyagitapujasamaya (Vajragita) and Vajraguhyanrtyapujasamaya (Vajranrtya). Though ^ ^ the mandala described in this chapter contains thirty-seven deities like the Vajradhatu Mahdmandala, the STTS does not provide the names of the four External Offerings and the c L,c' % ^ four Guardians.


350. OEAVS, TSD. Vol. 18, No. 869, p. 284-3-24-25.

351. TSD. Tu-xiang-ba (Iconographic Section), Vol. 2, pp. 93-110; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhatu Mandala, pp. 128-195; Toganoo Shoun, Kongochdlcyo no Kenkyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 229-297.

352. The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council of Religious Affairs of His Holiness the Dalai Lama, p. 214.


deities having a female appearance, though it cannot be definitely assumed that this mandala is exactly the same as the Vajraguhya Vajramandala. Though the mandala explained in this chapter of the Sanskrit STTS is known as Vajraguhya Vajramandala (or Vajraguhya Mahavajramandala),353 Amoghavajra and Anandagarbha name this mandala, which constitutes the supreme samayamudrd354 and focuses on the Mind of Vairocana, Dhdranlmandala (of the Vajradhatu).355 The thirty-seven female deities manifested by the samadhi, who symbolise the minds of the deities of the Vajradhatu Mahdmandala, are shown as symbols in the Vajraguhya Vajramandala of the STTS and in the Samaya Assembly of the Nine Assemblies Mandala.

The section of the mudrd-rites of the Vajraguhya Vajramandala includes the methods of attaining the four goals, which are entitled mwr/rd-knowledge, i.e. subjugation, attraction, destruction and pacification. The sddhaka attains these four goals by means of his body, vision, speech and mind. The means of binding the four mudras are briefly explained in this chapter. Significantly the maha-mudrds referring to the images of the deities are replaced in the Vajraguhya Vajramandala by those referring to the hand gestures, because this mandala represents the supreme samaya-mudrd and comprises the symbols instead of the images of the deities. The means of discharging the four mudras are almost the same as the previous ones described in the Vajradhatu Mahdmandala.


1. Structural Analysis o f Chapter 2


(1) The first section of chapter 2 of the STTS starting with the words, “Then the Lord”357 and ending with the words, “They are positioned in the four comers of the lunar disc”,358 provides an exposition of the second samadhi called the supreme mandala-king of the Vajraguhya Vajramandala.


(2) The next section starting with the words, “Then Vajrapani once again announced this Great Vajramandala called Vajraguhya (Kq/ra-secret)”359 and

353. Sakyamitra defines the term vajra-guhya as the instruction of the attainment of the secret purposes, and the term mahavajramandala indicates the mandala of the Lord Vajrasattva. (Kosalalamlcara, Vol. 70, No. 3326, p. 255-3-7-8). Regarding the term vajra-guhya, Anandagarbha adds that the vajra refers to what is originated from the mind of the indubitable Jnanasattva, and it is called the guhya because of being endowed with the nature of dhdranl. (Tattvaloka, Vol. 71, No. 3333, p. 213-5-8).

354. Tattvaloka, TTP. Vol. 71, No. 3333, p. 136-1-2-3.

355. Alex Wayman argues that the word idharanV o f the dharani-mandala means ‘memory1, i.e., retention in the Mind. (F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, p. 225, footnote).

356. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 908-922; Adrian Snodgrass, The Matrix and Diamond World Mandalas in Shingon Buddhism, p. 645.

357. atha bhagavdm: S. p. 100-2, T. p. 233-4-3, C2. p. 359-2-21.

35S. cakramandalakonacatustaye sthapyaly. S. p. 104-19, T. p. 234-1-8, C2. p. 360-3-8. 359. atha vajrapanih punar api idam vajraguhyan ndma mahdvajramandalam abhasat: S. p. 105-1-2, T. p. 234-1-8, C2. p. 360-3-17-18.


ending with the words, “One should teach the knowledge of the va/rfz-secretmudrd”, 360 explains the mandala-rites of the Vajraguhya Vajramandala.

(3) The next section starting with the words, “Thus, at first, one should teach the knowledge of the vuyra-secret-body-mwbra”361 and ending with die words, ‘ ‘ VAJRA - G UHYA -SAMA YA HAM”,362 explains the murira-knowledge for the four attainments, i.e. subjugation, attraction, destruction and pacification. This section also explains the secret-mudrd rite.

(4) The next section starting with the words, “Then, one should teach the binding of the mahd-mudras of the Thyra-secret”363 and ending with the words, “Whatever is the supreme pledge should be divided into two in exactly the same way”,364 briefly describes the rite of binding the four mudras of the Vajraguhya Vajramandala.


(5) The next section starting with the words, “Then, I will explain the way of perfecting these (four mudras)”365 and ending with the words, “They should not abandon their own husbands”,366 explains a common method of perfecting all the four mudras of the Vajraguhya Vajramandala.


(6) The next section starting with the words, “Then, there are the actions such as the binding of all these mudras and others”367 and ending with the words, “OM GUHYA-SAMAYA-TALA SAH”,36H explains the rite of discharging the four mudras of the Vajraguhya Vajramandala . (7) The final section, “While reciting: ‘VAJRASATTVA’ at will, if one performs in this pledge {-mandala) all the activities (explained in this) mandala, one can become a supreme doer of all attainments.”,369 includes a summary and concise description for accomplishing all the mudrd-rites of the Vajraguhya Vajramandala


2. Samadhi of the Vajraguhya Vajramandala


360. vajraguhyamudrdjnanam silcsayet: S. p. 107-8, T. p. 234-3-2, C2. p. 361-1-24. 36k tatra prathaman tavad vajragiihyakdyamudrdjndnam silcsayet: S. p. 107-9-10, T. p. 234-3- 2, C2. p. 361-1-25.

362. S. p. 111-14, T. p. 234-5-3, C2. p. 362-1-13.

363. tato vajraguhyamahdmudrabandham silcsayet: S. p. 112-1, T. p. 234-5-3, C2. p. 362-1-14. Sanskrit omits: “mahd”.

364 ydvadyah samayagryo vai dvidhilcrtya tathaiva ca: S. p. 113-5, T. p. 235-1-1, C2. p. 362-2- 8 .

365. athdsam sddhanam valcsye: S. p. 113-6, T. p. 235-1-1-2, C2. p. 362-2-9.

366. ma tyajeyuh patin nijam iti: S. p. 113-11-12, T. p. 235-1-3, C2. p. 362-2-14.

Tibetan and Tattvaloka both read: “They should abandon their eternal husbands.” 367. athdsam sarvamudranam bandhaditi karmani bhavanti: S. p. 113-13, T. p. 235-l-3~4, C2. p. 362-2-15.

368. S. p. 114-12, T. p. 235-1-7, C2. p. 362-3-1.

369. vajrasattvo rucir jdptah sarvamandalakarmasu, prayolctavyo 'tra samaye sarvasiddhikarah param iti: S. p. 114-13~ 15, T. p. 235-1-7-8, C2. p. 362-3-2-3. 370 j i ie above divisions and analyses of the Sanskrit STTS are reconstructed on the basis of Anandagarbha's commentary focusing on the textual sequence and the ritual procedure. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 136-1-2-3-5.


The main purpose of the second samadhi called the supreme mandala-king is to evoke all the deities, particularly the thirty-seven deities, for the mandala rites. Thus, the second samadhi constitutes the doctrinal basis of the mandala because each mandala described in the STTS is constructed on the basis of its second samadhi. Thus, the mandala is defined as the manifested form of the second samadhi. The following characteristics relating to the Vajraguhya Vajramandala can be examined on the basis of information provided by the samddhi-section of this mandala?11


(1) The STTS reads>


“The Lord Vajrapani entered the samadhi called c Vajra Generated from All the Vajradhdranl-Samayas372 of All the Tathagatas’. In this samadhi, he conceived and emitted the Goddesses of the Samaya-mudrd of the Vajradhdrani from the hearts of all the Tathagatas and he also brought forth the knowledges of the Vajradhdrani of all the Tathagatas and of all the Buddhas in all the universes.”

Evidently the term dharani-mandala, which is employed by Amoghavajra and Anandagarbha, originates from this quotation and this mandala consists of the female deities who exist in the mandala in symbolic forms.

(2) The STTS reads “The Lord transformed himself into the symbols of the Samayamudrds of all the Tathagatas.” Thus, this mandala consists not of images but of die distinguishing symbols (svacihna) of the deities, for instance, stupa, five-pronged vajra, gem, lotus and crossed vajra.

(3) The STTS reads “The Lord rested on the lunar discs in conformity with entering the Vajradhatu Mahdmandala of all the Tathagatas.” Once again it is clear from this quotation that the positions of the symbols are exactly the same as the positions of the deities in the Vajradhatu Mahdmandala, because the symbols of the thirty-seven deities replace their images in the Vajraguhya Mahavajramandala, These characteristics are implemented in the construction of this mandala.


3. Mandala Rites


The major function of all the mandala-rites described in the STTS is to provide the sddhaka with the pledge and the consecration. In terms of the relationship between 371. S. p. 100, T. p. 233-4-3-7, C2. p. 359-2-21-3-1.

372. Concerning the meaning of the samayas (pledges) in this context, Sakyamitra asserts that they are the hrdayas, mudras and mandalas. {Kosalalamkdra, Vol. 70, No. 3326, p. 253-5-

7). However, Anandagarbha asserts that they are the Bodies of the Dharam-GoddessQS. {Tattvaloka, Vol. 71, No. 3333, p. 212-3-7).


the mandala-rite and the mudrd-rite, they are inseparable from each other, and the former is a kind of preliminary activity for accomplishing the latter.


a. Structure o f the Vajraguhya Vajramandala This mandala symbolises the original vow of the deities of the Vajradhdtu Mahdmandala represented in their samaya-forms. These samaya-forms are represented either by objects or symbols characteristic of each deity, or by their ordinary attributes. This mandala also corresponds almost exactly to the Vajradhdtu Mahdmandala in its general disposition and placement.373 “The supreme Vajramandala (of the Tathagata-family) has the basic design of the Vajradhdtu (Mahdmandala) and is called ‘ Vajraguhya (Kq/ra-secret)’. The whole mandala should be designed in conformity with the (Vajradhdtu) Mahdmandala. One should draw the (five) Buddha-mudrds in the centres of every mandala. A stupa (caitya), well placed on the seat (paryahka), is called Vajradhdtvlsvarl (Queen of the Vajradhdtu).

A vajra above a vajra on the seat is named Vajracintd (Vajrathought), A vajra-gem on the seat is named Svabhiseka (Selfconsecration), A vq/>a-lotus on the seat is named Ayudha (Longlife- holder). An action-vq/ra (or crossed vajra) on the seat is named Sarvavajra (Uni vers al-vq/ra). These (vajras) are drawn above the lotuses and placed inside the luminous mandalas. On the seats (of die eastern quarter), one should draw (1) a vajra, (2) two375 erect hooks, (3) a vajra reposing upon a vajra, and (4) two forms of the sadhidcdra (literally good-makers). (On the seats of the southern quarter), one should draw (5) a fiery gem, (6) a mn-mudrd, (7) a banner whose top is surrounded by flames, and (8) a set of teeth between two vajras.376 (On the seats of the western quarter), one should draw (9) a lotus in the centre of the vajra, (10) a sword surrounded by flames, (11) a vajra-wheel having a vq/ra-spoke,377 and (12) a tongue emitting blazing rays of light. (On the seats of the northern quarter), one should draw (13) a vajra in every direction, (14) a pair of cuirasses, (15) a vq/ra-tusk, and (16) a fist -mudrd consisting of two hands. One should draw Sattvavajri and the others in accordance widi the {Vajra-) Dhatu (Mahd-) mandala.37S One should draw the characteristic mudrds in the mandala of Vajralasya and the others. One should also draw the distinguishing symbols on the outer parts following the appropriate order. One should draw the

373. Lokesh Chandra, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 36.

374. Tibetan reads: “Vajrasattva”. Chinese 2 reads: “ Vajra of the Vajra-family”.

375. Chinese 2 omits: “two” and inserts: “vajra".

376. Chinese 2 reads: “Vajrahasa”, instead of “between two vajras”.

377. Chinese 2 reads: “a vq/ra-great-fire-wheel”.

378. Chinese 2 reads: <<‘mahd-mandala”-


distinguishing symbols of Maitreya and the others, in the way one likes”

The first segment of this quotation shows that die basic design such as measurement and lines are based upon die construction-method of the mahdmandala of the Vajradhdtu. The difference is that the deities' symbols replace their images in this mandala. The term £ Vajramandala* is defined as the mandala comprising the symbols signified by a vajra.™ The second segment describes the five symbols and names drawn on the seats of the five Tathagatas. The phrase 'a vajra above a vajra' denotes die symbol of Aksobhya, which is the image of a vertical five-pronged vajra standing on a horizontal five-pronged vajra.™ The third segment describes the symbols of the sixteen Mahabodhisattvas, which correspond to the sixteen symbols of the Mahabodhisattvas from Vajrasattva to Vajrasandhi. The phrase ‘two forms of the sddhukara’ refers to the symbol of Vajrasadhu,

which is the image of the two hands whose wrists bear a vajra?'?'2 The final segment does not actually provide concrete information about die symbols of the odier deities. Concerning the four symbols of the four Paramitas, a five-pronged vajra is drawn for Sattvavajri; a five-pronged vajra attached to the top of a wishgranting- gem is drawn for Ratnavajri; a five-pronged vajra at the entrance to the repositoiy of a sixteen-petalled lotus is drawn for Dharmavajri; a crossed-vq/ra made of twelve prongs is drawn for Karmavajri. Anandagarbha adds: “A vajra with five prongs at both ends is drawn for Lasya; the garland of Mahavajraratna is drawn for Mala; a vajra-vind is drawn for Gita; the hand gesture of two hands, drawn up to the wrist and holding a three-pronged vajra, is drawn for Nrtya. An incense-vessel is drawn for Dhupa; a vase filled with the vq/rn-flowers is drawn for Puspa; the wick of Vajraloka is drawn for Aloka; the conch of Vajragandha is drawn for Gandha. The hook of Vajrankusa is drawn for Vajrankusa; a vajranoose is drawn for Pasa; a vq/ra-chain is drawn for Sphota; a vajra-bell is drawn for Vajravesa. In addition, four vajras are drawn for four Bhadrakalpa Mahabodhisattvas in the east; four vajra-gems are drawn for those in the south; four vo/'ra-lotuses are drawn for those in the west; and four crossed-vqy'raj are drawn for those in the north.”

The Samaya Assembly of the Nine Assemblies Mandala™ displays not only the symbols of the thirty-seven deities and the sixteen Bhadrakalpa Mahabodhisattvas,


379. S. pp. 105-106, T. p. 234-1-8-2-7, C2. pp. 360-3-11-361-1-15.

3S0. Tattvdloka, Vol. 71, No. 3333, p. 214-1-4.

38 f Adrian Snodgrass explains the horizontal five-pronged vajra as symbolising innate Bodhicitta; the sets o f five prongs at either end represent the identity of the five Knowledges in beings and in the five Buddhas. The vertical five-pronged vajra symbolises the quickening of the Bodhicitta in beings. (The Matrix and Diamond World Mandalas in Shingon Buddhism; pp. 651-652).

382. Tattvdloka, Vol. 71, No. 3333, p. 214-3-3.

3S3. Ibid., p. 214-4-1-5-2.

384. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 908-922.


but also the symbols of the twenty Hindu deities positioned in the external mandala, which appear not in this Vajraguhya Vajramandala.


b. Entry into the Mandala


The rite of entering this mandala is a simplified version of the ritual of entering the Vajradhdtu Mahdmandala as is evident from the following:- “At first, the vq/ra-master binds the mudrd of Sattvavajri by himself, and enters (the mandala). Upon entering it, he should turn to the right.385 After presenting the mudrd to the Lord Vajrapani, he should duly release it over his heart.386 Having correctly performed the actions at the four gates with the karmamudrdsm of Vajrankusa and the others (Vajrapasa, Vajrasphota

and Vajravesa), he should step forward. Having done this, he should induce (his) pupil388 to enter (the mandala) following the method of entering the Vajradhdtu Mahdmandala. Once (his pupil) has entered, he should give (his pupil) a vq/ra-emblem (vajra-cihna) of the secret attainment which has been concealed inside (his) fist.389 Then, he should teach (his pupil) the mudrdknowledge of the Vajraguhya (Vajramandala).”

According to Salcyamitra, the master himself should enter the mandala before his pupil enters because some people are forgetful and may transgress the pledge. Furthermore, this should be done in order to establish the mudrds perfectly at the tune of invoking but not seeing the deity, in order to be captivated completely by the Buddhas and Bodhisattvas when accomplishing the mandala and in order to be approved by the Lord.391 In the light of the commentaries of Sakyamitra and Anandagarbha, the rite is simplified and summarised in order to avoid repetitions because die most details have already been described in the section on the Vajradhatu Mahdmandala. The main procedure of the rite conforms to the rite of the Vajradhatu Mahdmandala.


4. Mudra Rites


a. Mudrd-Knowledge o f the Four Attainments


As already mentioned, the main purpose of the mwrira-lcnowledge of the Vajraguhya

explained in this chapter is to achieve the four attainments, i.e. subjugation

385. Tibetan reads: “turn round once”.


386. Chinese 2 reads: “reciting the self-hrdaya”,

387. Tibetan omits: “karma-mudrds”.

388. Tibetan reads: “vq/ra-pupils”.

389. Chinese 2 reads: “Having released the fist (of his pupil) in accordance with the rite, he should give the vq/ra-sign of secret attainment (to his pupil).”

390. S. p. 107-2-8, T. p. 234-2-7-3-2, C2. p. 361-1-17-24.

391. Kosaldlamkara, Vol. 70, No. 3326, p. 256-1-3—5.

392. Vajra-guhya in this context indicates the Vajraguhya Vajramandala. (Tattvdloka, Vol. 71, No. 3333, p. 215-2-8).


(vasikarana), attraction (akcirsana), destruction (<abhicdraka) and pacification (,sdntika), which are closely related to the four Aoma rites. In order to gain these attainments four kinds of mudrds are performed in this mandala, including the body, vision, speech and mind mudrds of the Vajraguhya Vajramandala with each mudrd consisting of four kinds of rites. In this context, the term mudrd refers to an additional aid to gain the desired attainments. Out of the following four kinds of mudrds, the methods of making the four body-mudrds and the four vision-mudrds are illustrated in the Vajradhdtu Guhyadhdrammandala of the Gobushinkan ,393 a-1. Body-Mudra o f the Vajra-Secret (Vajraguhyakayamudrd)

“One makes one's hands and feet like the posture of salutation {ahjali) (sitting) in the centre of a lunar disc. Then if one visualises a vajra whilst (imagining) the mouth is gaping,394 one can gratify even Vajrini.

If one visualises a vajra on one's head whilst bending one of one's arms like a hook and making a sharp noise (like snapping fingers) by the other one's hand,395 one can summon even Afikusl.396 One makes the gesture of shooting an arrow. Then if one (imagines) that one gapes at (one's female deity) and pierces (her) heart (with an arrow), one can gratify even Rativajra herself with passion (mdra).

If one encircles one's heart by crossing one's both arms and (imagines putting the armour on) oneself by means of the vajraarmour398 (of Vajraraksa), one can protect even the Buddha himself.”

This first segment describes the means of subduing or gratifying the sddhaka's chosen deity, who is manifested as a goddess and drawn as a symbol hi the mandala, by imitating and visualising the posture and image of Vajrasattva who sits cross-legged, holding together the palms of his hands over the crown of his head, and gaping at his consort Vajrinl. The way of attracting or invoking a goddess explained in the second segment is achieved by means of the sddhaka's imitating

393, TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 107-108; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 185-189; Toganoo Shoun, Kongocholsyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 287-291.


394 Chinese 2 reads: “if one visualises a vajra in the centre of a pure lunar circle while making one's hands, feet, fingers and face tremble intensively”. 3 95. According to Anandagarbha, the sddhaka bends his left arm like a hook and makes a sharp noise of snapping fingers with his right hand. (Tattvdloka, Vol. 71, No. 3333, p. 215-4- 7-8). However, Sakyamitra states that the sddhaka bends his right arm like a hook and calls the name of the deity (Vajrankusa) while snapping the fingers of his left hand. (Kosaldlamkara, Vol. 70, No. 3326, p. 256-4-3-5).

396. Chinese 2 reads: “If one bends one's arms like the posture of holding a hook and visualises a vajra on one’s head while making a noise with clapping one's hands, then while visualising Vajrankusa one attracts (one's female deity).”

397. Chinese 2 translates the Sanskrit words ‘mara-yogena’ as ‘as if killing all evils’. 398. Chinese 2 reads the Sanskrit words ‘vajra-varma’ as ‘vajj-a-dharma’. 3" . S. p. 107-11-18, T. p. 234-3-2-5, C2. p. 361-1-26-2-4.


and visualising the posture and image of Vajraraja (alias Vajrankusa) who bends his arm like a hook and calls his consort Ahkusi by means of snapping his lingers. The way of destruction (abhicdraka) explained in the third segment is achieved by means of the sddhaka,'s imitating and visualising the posture and image of Vajraraga who gapes at his consort Rativajra and pierces her heart with an arrow. The way of pacification or protection explained in the final segment is achieved by means of the sddhaka' 5 imitating and visualising the posture and image of Vajraraksa (alias Vajrakavaca) who encircles his heart by crossing his arms. These four rituals are called ‘secret5 because in this mandala the sddhaka visualises himself as one of the four deities, i.e. Vajrasattva, Vajraraja, Vajraraga and Vajraraksa corresponding to the four attainments and then in samddhi unites with his chosen female deity chosen.

a-2. Vision-Mudra o f the Vajra-Secret (Vajraguhyadrstimudra)


“If one beholds any female (deity) with one's widely open eyes, (which is known as) ‘vryra-vision’ (vajra-drsp) generating the extreme joy of passion, one can subdue her perpetually. One can attract all living beings by blinking one's eyes and pulling the eyelashes to and fro, which is known as ‘flaming-vision’ {dipta-drsti).

If one concentrates on ‘wrathfiil-vision’ (krodha-drsti) which refers to closing the eyes as soon as there is an extreme frown and wrinkles, one can destroy even the three worlds. One can eliminate evil beings such as Jvara and Graha by holding one's eyes without blinking like a rock on Mount Meru, which is known as ‘friendliness-vision’ (maitri-drsti)Jm

These four rituals focus on the eyes' movements which are made by the sddhaka in samddhi. When the sddhaka visualises and beholds his chosen female deity in this mandala, he uses one of the four types of eye movements in order to unite with his female deity and to gain her power.

a-3. Speech-Mudrd o f the Vajra-Secret (Vajraguhyavdhmudra) “If one recites distinctly the wzyra-word (vajra-vac)\ ‘HOH HOH HOH H O H , one can gratify all living beings as soon as the word is revealed.

If one recites distinctly the wrathful-word (Izrodha-vdc)401: ‘ JJAH JJAH JJAH JJA H , one can attract all living beings like Vajradhara.

If one concentrates on (reciting) distinctly the sound-word (sabdavdc)

402: i HUM HUM HUM HUM*, one can kill all living

beings403 like falling rocks on Mount Meru.

400 S. p. 108-7-14, T. p. 234-3-6-8, C2. p. 361-2-11-18.

40 f Chinese 2 reads: “sound-word”.

402. Chinese 2 reads: “wrathful-word”.


If one recites distinctly the subtle-word (,suksma-vdc): ‘HAM HAM HAM HAM , one can protect this whole world and even the Victor having the va/ra-nature.”

These four rituals focus on the four seed-syllables {blja), i.e. HOH, JJAH, HUM and HAM, as the means of gaining the four attainments. Three of the four mantras are borrowed from the four syllabled seed-mantras explained in the Vajradhdtu Mahdmandala, i.e. JAH HUM VAM HOH, whose functions are summoning,

drawing in, binding and subduing the Mahasattvas respectively. A seed-syllable ‘HAM added in this ritual has the function of protection. Each of these four seedsyllables, which is pronounced four times, is an additional aid in the deity-yoga. a-4. Mind-Mudrd o f the Vajra-Secret (Vajraguhyacittamudrd)

“If one visualises oneself as Vajrapani who is endowed with all the most excellent forms, one can subdue all the Buddhas. If one visualises oneself as Vajragarbha who is endowed with all the most excellent forms, one can attract Vajrapani.

If one visualises oneself as Vajranetra405 who is endowed with all the most excellent forms, one can destroy all the dharmas,406

If one visualises oneself as Vajravisva who is endowed with all the most excellent forms, one can protect the Universal Vajra.”407 These four segments explain the four attainments by means of meditating on the four representative Mahabodhisattvas, i.e. Vajrasattva, Vajraratna, Vajradharma and Vajrakaima respectively, as if in this mandala each bears the same thirty-two major marks and eighty minor marks as the Buddha Sakyamuni. The word ‘destroying’ from the outside of the tantra signifies ‘gaining the attainments (siddhi)’


b. Secret Rite


The fifth land of mudrd rite included in the section of the mudra-knowledgQ is the meditation on the four Paramitas, i.e. Sattvavajri, Ratnavajri, Dharmavajri and Karmavajri respectively. The sddhaka meditates on these four Paramitas while beholding them with the four types of eye movements as previously described. This rite is called the (secret-) mudrd of the Vajra-secret (Vajraguhyamudrd):- “If one meditates on Sattvavajri in one's heart, and beholds her with the va/ra-vision, one can take possession of the whole world.

If one meditates on Ratnavajri in one's heart, and beholds her with the flaming-vision, one can subdue all.

403. Chinese 2 reads: “all evil beings”.

404 S, p. 109-7-14, T. p. 234-4-1-3, C2. p. 361-2-25-3-4.

405. Tibetan reads: “Dharmanetra”.

406. Tibetan reads: “one can gather all the dharmas”, Chinese 2 reads: “one can destroy evil beings with all the dharmas".

407. S. p. 110-2-9, T. p. 234-4-4-7, C2. p. 361-3-11-18.

408. Tattvdloka, Vol. 71, No. 3333, p. 217-4-2-3.


If one meditates on Dharmavajri in one's heart, and beholds her with the wrathful-vision, one can destroy the whole world. If one meditates on Karmavajri in one's heart, and beholds her with the friendliness-vision, one can protect this whole world.”409 In this rite, the sddhaka in his samddhi unites the four representative Mahabodhisattvas visualised as himself with the corresponding four Paramitas. Through this perfect union between partners, the sddhaka gains the four attainments.


c. Mahdmudra o f the Vajraguhya Vajramandala


The STTS describes briefly the methods of binding the four mudrds of the deities of the Vajraguhya Vajramandala, This section includes only of the mahd-mudras of the five Tathagatas and the sixteen Mahabodhisattvas described as the female deities in this mandala, because the mahd-mudras of the four Paramitas correspond respectively to those of the four Tathagatas excluding Yairocana, and the mahdmudras of the eight Offerings and the four Guardians are the same as their samayamudrds of the Vajradhdtu Mahdmandala. The binding of the mahd-mudras in this mandala consists not in visualising the images of the thirty-seven deities, but in making the hand gestures referring to the deities, because the STTS in this section defines the vajra-ahjali as the cause of generating all the mahd-mudrds of the Vajraguhya Vajramandala. Therefore, the mahd-mudras referring to the five Tathagatas are enumerated as (1) joining together both thumbs, bending both forefingers, and uniting the joints of both middle fingers, (2) making a vajra with both middle fingers, (3) making a gem with both middle fingers, (4) making a lotus with both middle fingers, ring fingers and little fingers, (5) stretching out all the fingers. Each of these five hand gestures begins with forming a vajra-ahjali.


5. Conclusion


The Vajraguhya Vajramandala which constitutes the supreme samaya-mudra represents the Mind of Vairocana, which is revealed by the thirty-seven female deities who are manifested through the samddhi of Vajrasattva or Vajrapani and are replaced by their symbols in the constructed mandala. These thirty-seven female deities, who symbolise the minds of the thirty-seven deities of the Vajradhdtu Mahdmandala and the Buddha's infinite love, generate the love or passion inside the sddhaka}s mind, the power by which the sddhaka gains the four attainments, i.e. subjugation, attraction, destruction and pacification.

409 S. p. 111-2-9, T. p. 234-4-8-5-2, C2. p. 362-1-1-8.

410 S. pp. 112-113-5, T. pp. 234-5-3-235-1-1, C2. p. 362-1-14-2-8.


Chapter 3. Vajrajnana Dharmamandala


Chapter 3 of the STTS411 explains the significance of assembling the Vajrajnana Dharmamandala (or Vajrasuksma Jhanamandala) which constitutes the supreme dharma-mudrd and focuses on the Speech of Vairocana. Anandagarbha and Sakyamitra name this mandala, which also contains the main thirty-seven deities, Dharmamandala (of the Vajradhdtu). A common characteristic of the names of die sixteen Mahabodhisattvas412 manifested through the second samddhi of the Vajrajnana Dharmamandala is that each of the sixteen Mahabodhisattvas is given the name of a ‘Knowledge-Symbol’ (jhanamudrah). Since their names are compounds and masculine in form, the word ‘Symbol’ occurs at the end of each as mudrah and not in the typically feminine form as mudra

According to Amoghavajra, the specific characteristic of this mandala, which he names Suksma (SubtlQ)-vajra-mandala, is that each of the thirty-seven deities is drawn in the centre of a vajra, and has its own samddhi-mudra.w Since the rites of entering this mandala are performed on the basis of those of die Vajradhdtu Mahdmandala, the STTS chapter mentions only the following difference:- “Having executed an extensive rite of entering (this mandala) in conformity with the (Vajradhdtu) Mahdmandala, (the master) should place a knowledge-emblem (jnana-cihna)415 into both hands (of his pupil).”

The section of the m«rin:7-knowledge of the Vajrajnana Dharmamandala is devoted to the various skills exercised in meditation. According to Amoghavajra,417 this section explains the suksma-vajra-samadhi of the sddhaka in practising the four dhydnas, four brahma-vihdras (perfect-states) and three vimoksa-mukhas 41!. S. chapter 3. pp. 116-129, T. pp. 235-1-8-236-4-8, C2. pp. 362-3-4-365-2-2. 412. The sixteen Mahabodhisattvas in this mandala are divided into four-family groups, i.e. Sarvatathdgata-mahdvajra-samadhis, Sarvatathdgata-ratna-samddhis, Sarvatathagatadharma- samddhis and Sarvatathagata-karma-samadhis. Sarvatathagata-mahavajrasamadhis include

(1) Vajrasattva-jnana-mudrah,

(2) Sarvatathagata-samajadhisthana-jnanamudrah,

(3) Sarvatathagatanuragana-jnana-mudrah,

(4) Mahatusti-jnana-mudrah.Sarvatathdgata-ratna-samddhis include

(5) Sarvatathagata-vajrabhiseka-jnana-mudrah,

(6) Mahaprabhamandalavyuha-jnana-mudrah, (7) Sarvatathagatasaparipurana-jnana-mudrah,

(8) Sarvatathagata-mahahasa-jnana-mudrah, Sarvatathagata-dharma-samadhis include

(9) Sarvadharma-samata-jnana-mudrah, (10) Sarvatathagata-prajna-jnana-mudrah,

(11) MahacakrapraveSa- jnana-mudrah,

(12) Sarvatathagata-dharmavagnihprapanca-jnana-mudrah. Sai'vatathdgata-karma-samadhis include

(13) Sarvatathagata-visvakarma-jnana-mudrah,

(14) Duryodhana-virya-jnana-mudrah,

(15) Sarvamara-mandala-vidhvamsana-jnana-mudrah,

(16) Sarvatathagata-bandha-jnana-mudrah.


413. David Snellgrove, Sarva-Tathagata-Tattva-Sahgraha, Introduction, p. 36.

414 OEAVS, TSD. Vol. 18, No. 869, pp. 284-3-27-285-1-1.

415. Tibetan reads: "jndna-nnidrd". Chinese 2 reads: “mahd-jndna-cihna”. Anandagarbha and Sakyamitra both regard a knowledge-emblem as the vajra-suksma as small as a barleycorn. (Tattvdloka, Vol. 71, No. 3333, p. 224-3-3; Kosaldlamkara, Vol. 70,

No. 3326, p. 262-3-2).

416. S. p. 123-2-3, T. p. 236-1-7, C2. p. 364-1-15-16. 417. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-2-4.


(emancipation-entrances). As a result of these practices in meditation, the mind endures, the mind becomes gently harmonious, and the mind is liberated.


1. Structural Analysis of Chapter 3


(1) The first section of chapter 3 of the STTS starting with the words, “Then the Lord once again entered the samddhi called Mandala-Empowerment of the Pledge of the Knowledg§-Mudrd of the Subtle- Vajra of All the Tathagatas”418 and ending with the words, “They entered the samadhis of their own hearts, and remained there”,419 provides an exposition of the second samddhi called the supreme mandala-king of the Vajrajnana Dharmamandala.

(2) The next section starting with the words, “Then, Vajrapani once again enunciated this Vajrasuksma Jhanamandala for the purpose of accomplishing the samddhi, the knowledge and the supernatural knowledge of all the Tathagatas”420 and ending with the words, “(The master) should place the sign of knowledge into both hands (of his pupil)”,421 explains the mandala-rites of the Vajrajnana Dharmamandala.

(3) The next section starting with the words, “(The master) should teach the knowledge of the mahd-mudrd which makes one's own mind endure”422 and ending with the words, “One can accomplish the universal action”,423 explains the mw^ra-knowledge consisting of the meditative practices, which are common to the Abhidharma and Mahayana Buddhism, i.e. the four dhyanas, four brahmavihdras, four drupyasamdpattis and three vimoksamukhas. This section also contains a secret rite known as the secret mwf/ra-knowledge of the truth of all the Tathagatas.

(4) The final section starting with the words, “Then, one should teach the mudrdknowledge of the samddhi called the empowerment of the knowledge-va/ra of all the Tathagatas”424 and ending with the words, “Having divided (it) into two, one should reunite (them)”,425 briefly describes the rite of binding the four mudrds of the Vajrajnana Dharmamandala:426


2. Structure o f the Vajrajnana Dharmamandala


418. atha bhagavam punar api sarvatathagatasulzsmavajrajnanamiidrdsamayamandalaadhisthanam nama samddhim samapadya: S. p. 116-2—3, T. p. 235-1-8-2-1, C2. p. 362-3- 5-6."

419. svahrdayasamddhayah samdpadyavasthita iti: S. p. 122-6-7, T. p. 236-1-3, C2. p. 364-1- 3-4.

420. atha vajrapanih punar api sarvatathdgatasamddhijndndbhijhdnispddandrtham idam vajrasulqtmajnanamandalam abhdsat: S. p. 122-8-9, T. p. 236-1-3-4, C2. p. 364-1-5-7.

421. jnanacihnam panibhyam dattvd: S. p. 123-2-3, T. p. 236-1-7, C2, p. 364-1-16. 422. svacittaparilmrmamahdmudrdjndnam siksayet: S. p. 123-3, T. p. 236-1-7, C2. p. 364-1- 16-18.

423. sarvakarma sa sadhayed iti: S, p. 127-10-11, T. p. 236-3-8, C2. p. 364-3-23.

424 tatah sarvatathdgatajndnavajrddhisthdnasamddhimudrdjnanam sifcsayet: S. p. 127-12-13, T. p. 236-4-1, C2. p. 364-3-24.

425. dvidhilcrtya prayojayed iti: S. p. 129-6-7, T. p. 236-4-7, C2. p. 365-1-26.

426. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 136-3-5-5-1.


This mandala has the same structure and images of the thirty-seven deities as those of the Vajradhdtu Mahdmandala, the only specific difference being that each deity, except four Paramitas drawn as four symbols, in this mandala is drawn in the centre of a vajra in the posture of meditation, holding its own symbol at the heart. “The supreme Dharmamandala427 (of the Tathagata-family) has the basic design of the Vajradhdtu {Mahdmandala) and is called ‘ Vajrasuksma (Kq/ra-subtle)’. One should place the Mahasattvas (inside this mandala) in conformity with the {Vajradhdtu) Mahdmandala. One should draw the Buddha (Vairocana) in the centre of a vajra, and (also should draw the other four Tathagatas) in the Buddha-circles. One should draw the Mahasattvas, each of whom (holds) its own mudrd at the heart,428 abides in samddhi and forms a vajra-bond with both hands.”

Regarding the Sanskrit term vajra-suksma (or suksma-vajra), Anandagarbha interprets that the vajrasuksma (vq/ra-subtle) as a white coloured five-prongedvajra as small as a barleycorn, its inner essence being knowledge (jndna) and truth, generates the mudrd. Thus, the nature of the vajra-sulcsma is the mudrd of the knowledge of the vajra-sulcsma 430 Sakyamitra adds that the vajra-suksma of all the Tathagatas is the knowledge-vayra, and since it is generated from the mind which is not able to be seen, nobody can break it, so it is called the vajrasuksma.m As for the reason each deity is drawn in the centre of a vajra, Toganoo Shoun makes the following comment: “The vq/ra-subtle-knowledge can become unlimited and innumerable in division but as a whole it is called Pure-Absolute-Knowledge. This Pure-Absolute-Knowledge of Vairocana, known as a vajra of (Bodhi-) Sattva in the STTS, symbolised as the flve-pronged-va/ra established inside the lunar-disc,

personified as the Mahabodhisattva Vajrapani, is divided into countless and immeasurable Buddha-knowledges, which are represented as the thirty-seven knowledges and personified as the thirty-seven deities in the mandala. Thus, since these thirty-seven deities are manifested in the ambience of the subtle-vayra to be the Pure-Absolute-Knowledge, each of them is drawn in the centre of a vq/ra ”432 The Sulcsma Assembly of the Nine Assemblies Mandala433 consists of the main thirty-seven deities, die sixteen Bhadrakalpa Mahabodhisattvas and the twenty Hindu deities. Except the twenty Hindu deities, each of the other deities sits on a 427. Chinese 2 reads: “the supreme subtle-lunar-disc”,

428. Regarding ‘their own mudrds at their hearts’, which is translated from the Sanskrit ‘svamudra- hrdaya', Sakyamitra asserts that the sva-mudra-hrdaya means mudrds such as the vajra and others, and since the essence of these is the mudrd of the heart, so it is called svamudra- hrdaya.


(Kosalalamlcdra, Vol. 70, No. 3326, p. 262-2-5-6).

429. S. p. 122-10-16, T. p. 236-1-4-6, C2. p. 364-1-8-13.

430. Tattvdloka, TTP. Vol. 71, No. 3333, p. 220-3-2-3.

43 b Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 259-3-8-4-1.

432. Toganoo Shoun, Mandara no kenkyu, pp. 278-280.

433. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 923-938; Adrian Snodgrass, The Matrix and Diamond World Mandalas in Shingon Buddhism, p. 666.


lotus where a vajra is drawn in the centre. In this mandala, some deities hold their own symbols, but the others such as the five Tathagatas form the hand gestures without holding their symbols. According to the Vajradhdtu Suksmamandala of the Gobttshinkan,434 which contains the images of the thirty-three deities excluding the four Paramitas, each deity places its own symbol in both hands in the posture of meditation, the only exception being Vairocana who is forming ‘the mudrd of supreme enlightenment’ without holding any symbol. In addition, only Vairocana sits on the lotus where a vajra is drawn in the centre.


3. Mudrdi-Knowledge


Since the Vajrajnana Dharmamandala constitutes the supreme dharma-mudrd, the STTS explains the methods of practising dharmas, which are known as the principal meditation practices for realising enlightenment in Mahayana Buddhism. According to the Mahdprajhapdramitasastra, apart from the seven groups of the bodhipaksilcas, there are eight groups of dharmas which the bodhisattva practises, i.e. (1) the three vimoltsamukhas or three samddhis (2) the four dhyanas, (3) the four brahmavihdras or four apramdnas (4) the four arupyasamdpattis (5) the eight vimolcsas (6) the eight abhibhvayatanas (7) the nine anupurvasamdpattis (8) the ten Icrtsndyatanas.435 Out of these eight classes, this section of the STTS (S. pp. 123~126) explains the four dhyanas, four brahmavihdras, four arupyasamdpattis and three vimoksamukhas respectively from the point of view of the yoga-tantra, where a subtle-va/ra is used as the object of meditation.


a. Four Dhyanas


“While making die tip of the tongue touch the palate,436 one should reflect upon (a subtle-wz/ra) at the tip of the nose. By feeling the pleasure of the subtle-vayra, one can compose the thought so that it rests in meditation.

If one then generates the sign associated with feeling the pleasure of the subtle-vq/ra, and can diffuse that sign, one can diffuse the thought in all directions.

Since the thought can be diffused at will, it can even be diffused into the three worlds. Then again, it should be contracted, as long as die tip of the nose can still be sensed.

From then on, one should contemplate with a well-concentrated mind whatever ('maha-mudra or image of deity to be worshipped).

434. TSD. Tu-xiang-bu (Iconographic Secdon), Vol. 2, pp. 110-126; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 196-261; Toganoo ShSun, Kongdchdlcyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 301-367.

435. Tadeusz Skorupski, The Practices Conducive to Enlightenment, pp. 14-38.

436. Chinese 2 reads: “gradually moving (attention) from the tongue to the palate”.


Furthermore, if everything is completely steadfast, the knowledge of samddhi can be accomplished.”

This practice of the four dhyanas438 in the STTS is called ‘sva-citta-parikarmamaha- mudrd-jhdna\ which is translated as ‘knowledge of the maha-mudrd which makes one's mind endure’. The Sanskrit term 4parikarma’ in this context is explained by Sakyamitra as ‘making progress in meditation’.439 Accordingly, the first dhyana constituting a state of great joy is achieved by concentrating on a subtle-vq/ra at the tip of the nose, which signifies reflection and discernment; the second dhyana constituting a subtle joy is achieved by diffusing the subtle-vq/ra, which signifies making the thought arrive at one point without reflection and discernment; the third dhyana constituting a complete happiness is achieved by contracting the subtle-vq/ra, which signifies the abandonment of joy; and the fourth dhyana constituting a pure equanimity is achieved by making steadfast the subtlevajra, which signifies equanimity and mindfulness. The function of the four dhyanas is to liberate the mind.


b. Four Brahmavihdras


“If one wishes for friendliness together with great endurance to arise for the sake of any living being, one should expand this (friendliness) into all living beings by means of expanding the thought.

One whose aim is to benefit all living beings should expand compassion towards eveiybody by means of expanding friendliness.

The natural luminosity, which is in everything, has an original purity that is equal to the sky. Whether there is order or chaos, one is truly satisfied with this expansion.

Heretics are not the vessels for the Buddhahood. One should concentrate on great equanimity for die purpose of purifying these (heretics).”

43 7. Tibetan reads: “one can discern the wisdom of samddhi”. Chinese 2 reads: “the knowledge of samddhi will be established”.

S. p. 123-4-11, T. p. 236-1-8-2-2, C2. p. 364-1-19-26.

43S. Regarding the four dhyanas, the Mahdprajndpdramitasdstra explains that meditating on the object of the mind, the bodhisattva discards the five objects of enjoyment, rejects the impediments, and enters the first dhyana which constitutes a state of great joy. Then eliminating the activity of examination and judgement, and focusing his mind, he deeply penetrates into an internal peace, gains a subtle and marvellous joy, and submerges into the second dhyana. Next, since this subtle joy distracts his concentration, he distances himself from every joy, gains a complete happiness, and enters the third dhyana. Finally, destroying all suffering and happiness, and rejecting every mental vexation and satisfaction, as well the inhaling and exhaling breath, he endows himself with a pure and subtle equanimity, and penetrates into the fourth dhyana. (Tadeusz Skorupski, The Practices Conducive to Enlightenment, p. 19).

439. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 262-3-2-3.

440 S. p. 124-1-8, T. p. 236-2-3-5, C2. p. 364-2-3-10.


The meditative practices as described above in the STTS that follows the use of subtle-vq/ra in the four dhyanas are comparable to the four brahmavihdras or four apramdnas (immeasurables), which cultivate four feelings, i.e. maitri (friendliness), karund (compassion), muditd (joy) and upeJcsd (equanimity), whereby the mind becomes gentle and peaceful. Anandagarbha441 interprets the STTS rite in the context of deity -yoga, i.e. visualising a great friendliness-goddess as having a white-coloured body, a great compassion-goddess as having a redcoloured body, a joy-goddess as having a yellow-coloured body and a great equanimity-goddess as having a green-coloured body respectively. In these terms, therefore, the sddhaka attains the four brahmavihdras when in union with these four goddesses.


c. Four Arupyasamdpattis


“While concentrating on the subtle-vq/ra, whether standing or sitting, one should visualise an image of a vajra in space or elsewhere.

In the same way, while concentrating on the subtle~vq/ra, one should visualise with a well-concentrated mind the heart-vajra (ihrdvajra)442 of the Bodhisattva443 in all directions. In the same way, while concentrating on the subtle-vq/m, one should visualise a great image of Vajrapani in all directions. In the same way, (while concentrating on the subtle-wzyra), one should visualise with a well-concentrated mind an image of the Buddha, endowed with all the most excellent forms, in all directions.”

The original title for this practice of the four arupyasamdpattis (immaterial samdpattis) in the STTS is ‘the knowledge of recollecting all the Tathagatas445 (sarvatathagattinusmrtijnanay. According to the Mahdprajnd-pdramitdsdstra,446 the four arupyasamdpattis include die sphere of infinite space, the sphere of the infinity of consciousness, the sphere of nothingness and the sphere of neither consciousness nor non-consciousness. The previous two kinds of meditation practices are performed in the sphere of form, but the above method is practised in


441. Tattvdloka, TTP. Vol. 71, No. 3333, p. 225-4-3-5-2.

442. Sakyamitra comments that the heart-vq/ra in this context indicates Vajrasattva. (Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 264-1-4).

443. Chinese 2 reads: “all the Bodhisattvas”. Tibetan reads: “the vajra o f the Bodhisattva at (one's) heart”.

444 Tibetan reads; “all the time” instead of “in all directions”. S. p. 125-2-9, T. p. 236-2-6-3-1, C2. p. 364-2-17-24.

445. Sakyamitra comments that all the Tathagatas in this context refer to all the Buddhas and Bodhisattvas. (Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 263-5-5-6), but Anandagarbha regards all the Tathagatas as referring to the nature of the following four, i.e. the fivepronged vajra, Hrdvajra Bodhisattva, Vajrasattva and Vairocana. (Tattvdloka, TTP. Vol. 71,

No. 3333, p. 225-5-2-3).

446. Tadeusz Skorupski, The Practices Conducive to Enlightenment, pp. 24-26.


the sphere of the formless. The phrase ‘while concentrating on the subtle-vo/ra’ refers to the meditation method of the previous four dhyanas. In this meditation practice, the sddhaka visualises the four images, i.e. a five-pronged vajra, the vajra abiding inside the heart of the Bodhisattva Vajrasattva, Vajrapani and the Buddha Vairocana, which are logically correlated with each other. Thus, the meditation on these four external symbols is carried out sequentially.


d. Three Vimolcsamukhas


“While concentrating on the subtle-vq/ra, one should visualise oneself as the moon in order to generate the thought of enlightenment (bodhi-citta).

In the centre of this lunar disc, one should visualise oneself as an image of the vajra in order to generate the vajra of the (Bodhi-) Sattva.

While performing the rite of the subtle-vq/ra, one should visualise oneself as the heart-vajra of the (Bodhi-) Sattva in order to generate Vajrasattva.

One should visualise oneself as an image of the Buddha, endowed with all the most excellent forms, in order to realise the Enlightenment of the Buddha.”

The three vimohamukhas (emancipation-entrances) consist of sunyata (emptiness), dnimitta (causelessness) and apranihita (aimlessness), which represent the true character of the dharmas and are fundamentally one. By means of these three vimoksamukhas, samsara is identical with nirvana because both nirvana and samsdra are empty, causeless and aimless.448 The function of these three vimoksamukhas is to liberate the mind. The characteristics of the dharmas, i.e. emptiness, causelessness and aimlessness, are symbolised by the subtle-vq/ra. Practising the meditative skills, the sddhaka overcomes the dualism of consciousness which separates himself the subject from the object Buddha Vairocana, and experiences the perfectly purified state of consciousness in union with Vairocana drawn in the mandala. Comparing this method and the previous method of the four arupyasamdpattis, the differences and similarities are apparent. Whereas the meditation in the former focuses on only external objects, the latter focuses on the inner self and, fiirthermore, on the imion between the inner self and the external symbols. The two methods are similar in that both start with concentrating on a subtle-vq/ra, by means of which the apparent self is identified with the sum of existence,449 and end with attaining liberation.


e. Secret Rite


447. S. p. 126-1-8, T. p. 236-3-2-4, C2. p. 364-3-2-9.

448. Tadeusz Skorupski, The Practices Conducive to Enlightenment, pp. 14-18.

449. David Snellgrove, Sarva-Tathagata-Tattva-Sahgraha, Introduction, p. 36.


Since the STTS is classified as a yoga-tantra, it is dominated by mental states and meditative practices. Nevertheless, it also explains certain secret rituals containing some basic elements of the anuttara-yoga-tantra. All such rituals contain the Sanskrit term rahasya or giihya, both of which mean ‘secret or esoteric teaching’. However, it is significant that in the yoga-tantra, all the secret rituals are performed in samddhi. The STTS describes the secret mw<ira-knowledge of the truth of all the Tathagatas (sarvatathdgata-dharmatd-rahasya-mudrd-jhdna)450 in the following way:-

“Uttering once with the vayra-sound: ‘Indeed, I am identical to the Tathagata.’,451 one can gratify all living beings through the union of the two organs (indriya).

Uttering once with the va/ra-sound: ‘Indeed, I am identical to Mahavajra.’, one can, with confidence, attract the world through the union of the two organs.

Uttering once with the va/ra-sound: ‘Indeed, I am identical to Vajradharma.’, one can destroy the whole world through the union of the two organs.

Uttering once with the vq/ra-sound: ‘Indeed, I am identical to ViSvavajra.’, one can accomplish all actions through the union of the two organs.”

This rite is performed through four consecutive verbal utterances, which aim to identify, in sequence, with each of the four families, i.e. Tathagata, Vajra, Dharma and Karma, based upon the four rites, i.e. subjugation, attraction, destruction and pacification. In addition to the verbal utterances, the union of the two organs are introduced in this ritual. In this context, the union of the two organs refers to the union between the mentally projected body of the sddhalza and the body of the deity joined together in samddhi, which symbolises the perfect unity equivalent to the physical union between male and female.


4. Conclusion


The Vajrajnana Dharmamandala which constitutes the supreme dharma-mudrd represents the Speech of Vairocana, and consists of the main thirty-seven deities, 450. As regards the Sanskrit term ‘sarvatathagata-dharmatd’, which literally means ‘the nature of all the Tathagatas’, Sakyamitra comments that it means the nature to be able to complete the purpose of contemplating the maha-mudra of all the Tathagatas. (Kosaldlamkara, TTP. Vol.

70, No. 3326, p. 264-3-8-4-1). However, Anandagarbha asserts that, in this context, it indicates the ( Vajrajnana) Dharmamandala. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 226- 3-4).

45f Chinese 2 reads: “all the Tathagatas”.

452. Chinese 2 in this section interprets the Sanskrit words ‘dvayendriycisamapatti’ as “the union o f vajra and lotus”.

453. S. p. 127-3-10, T. p. 236-3-6-8, C2. p. 364-3-16-23.

According to Sakyamitra, Mahavajra signifies the Lord Akasagarbha, Vajradharma signifies the Lord Lokesvara and Visvavajra signifies the Lord Vajrakarma. {Kosaldlamkara, TTP.

Vol. 70, No. 3326, p. 264-4-6-5-3).


each of which is drawn in the centre of a vajra, holding its own symbol with both hands. The essential or central symbol in this mandala is the subtle-vq/Va symbolising the Pure-Absolute-Knowledge of Vairocana. The specific function of this mandala is to guide the sddhaka in practising various meditative skills, i.e. the four dhyanas, four brahmavihdras, four arupyasamdpattis and three vimoksamukhas, which originated in the Abhidharma and were developed in Mahayana Buddhism. These four lands of meditative practice form a logical sequence. Firstly, the sddhaka practises on the basis of the four dhyanas the method of controlling die subtle-va/ra which is generated from his mind. Secondly, he gains compassionate thoughts towards living beings by means of controlling the subtle-va/ra and cultivating the four feelings. Thirdly, he practises the method of visualising a deity in the sphere of the formless with the help of the subtle-vq/ra. Finally, he practises the method of transforming himself into a deity drawn in the mandala by means of concentrating on the subtle-vn/'ra. As a result of these practices, the sddhaka experiences the state of nirvana in the sphere of samsdra.


Chapter 4. Vajrakarya Karmamandala

Chapter 4 of the explains the significance of assembling the Vajrakarya Karmamandala which constitutes the supreme karma-mudra and focuses on the Marvellous Action of Vairocana. The sixteen Mahabodhisattvas of the Vajrakarya Karmamandala, whose names have feminine endings, appear in feminine form. These sixteen Mahabodhisattvas are divided into four family groups known as the Great-Offerings of all the Tathagatas,455 the Consecration-Offerings of all the Tathagatas,456 the D/znrmn-Offerings of all the Tathagatas 457 and the Action- Offerings of all the Tathagatas


Amoghavajra explains the Vajrakarya Karmamandala as the extensive rite of worshipping all the Tathagatas. He adds that this mandala also contains the main thirty-seven deities, and each deity holds its own symbol and abides in worship 459 The basic structure of this mandala is the same as the previous mandalas, but die thirty-two deities excluding the five Tathagatas have female appearances and form the gestures of offering. According to Sakyamitra, since this is the mandala of offerings, the Mahasattvas assume the appearance of the offering goddesses 460 The section of the mudrd-knowledge of the Vajrakarya Karmamandala is devoted to the four kinds of worship-rites consisting of the sixteen offerings which correspond to the sixteen Mahabodhisattvas assuming female forms, and a secret worship-rite consisting of the four secret offerings. The main purpose of these offerings is to enable the sddhaka to gain Buddhahood by means of worship.


L Structural Analysis o f Chapter 4


(1) The first section of chapter 4 of the STTS starting with die words, “Then, the Lord once again entered the samddhi called the Vajra-Empowennent of the Action- Pledge Penetrated by the Extensive Rite of the Supreme Worship of all the Tathagatas”461 and ending with the words, “They are the Ritual-Offerings of all the

454. S. chapter 4. pp. 130-141, T. pp. 236-4-8-238-1-8, C2. pp. 365-2-9-368-1-6.

455. The Great-Offerings of all the Tathagatas consist of Sarvatathagatasukhasukha, Sarvatathagatakarsani, Sarvatathagatanuragini and Sarvatathagatasantosani.

45 6. The Consecration-Offerings of all the Tathagatas consist of MahadhipatinI, Mahodyota, Maharatnavarsa and Mahaprftiharsa.

457. The Z)/2tfrw<7 -Offerings of all the Tathagatas consist of Mahajnanagita, Mahaghosanuga, Sarvamandalapravesa and Mantracarya.

458. The Action-Offerings of all the Tathagatas consist of Sattvavatl, Mahabodhyarigavatl, Caksusmatl and Gandhavati.

459. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-4-6.

460. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 267-3-7-8.

46 f atha bhagavam punar api sarvatathagatdnuttarapujdvidhivistaraspharanakarmasamayavajrddhistanan ndma samadhim samdpadya: S. p. 130-2-4, T. p. 236-4-8-5-1, C2. p. 365- 2-9-11. “


Tathagatas’5,462 provides an exposition of the second samddhi called the supreme mandala-king of the Vajrakarya Karmamandala.

(2) The next section starting with the words, “Now comes the karma-mandala of the vq/'ra-ritual which is to do with the performing of the entire and complete Tathagata-worship”463 and ending with the words, “It is not necessary to say that (one is worshipped) by the others”,464 explains the mandala-rites of the Vajrakarya Karmamandala.

(3) The next section starting with the words, “Then, one should teach the knowledge of the worship-mudrd of generating the thought of great enlightenment”465 and ending with the words, “KAMA-VAJRA”,466 explains the mwrira-knowledge which contains four rites of making the sixteen offerings, namely, mahdbodhicittanispatti-, sarvabuddha-, dharma- and samadhipujamudrdjhanas, and also a secret rite of making the four offerings known as rahasyapujdmudrdjhdna.

(4) The final section starting with the words, “Then, one should teach the knowledge of the mahd-mudrd of the worship-ritual of all the Tathagatas”467 and ending with the words, “As regards karma-mudrds, briefly, the karma-mudrds should be divided into two”,468 briefly describes the rite of binding the four mudrds of the Vajrakarya Karmamandala


2. Mandala Rites


According to the samddhi-soction of the Vajrakarya Karmamandala,470 Vairocana enters the vajra-samadhi called the ritual-pledge (karma-samaya) of worshipping all the Tathagatas, and Vajradhara, who is the representative of Vairocana, generates from the hearts of the five Tathagatas the offering goddesses, who gather together in the mandala. Each goddess holds her own symbol (mudrd) with both hands, worships all the Tathagatas, and rests on her own lunar disc in accordance with the Vajradhdtu Mahdmandala. Basically, the rite of entering this mandala begins with


462. sarvatathdgatakarmapujdh: S. p. 135-10, T. p. 237-3-4, C2. p. 366-3-21.

463. athdtra vajrakdryakarmamandalain bhavaty asesanavasesatathagatapujapravartakam iti: S.

p. 135-11-12, T. p. 237-3-4-5, C2. p. 366-3-22-23.

464. kah punar vado 'nyair iti: S. p. 136-8-9, T. p. 237-4-1, C2. p. 367-1-6.

465. tato mahabodhicittanispattipujdmudrdjndnam silcsayet: S. p. 136-10, T. p. 237-4-1, C2. p. 367-1-7.

466 S. p. 140-5, T. p. 238-1-3, C2. p. 367-3-19.

Tibetan and Tattvalolca both read: “KARMA-VAJRA.”

467. tatah sarvatathagatapujakarmamahdmudrdjndnam siksayet: S. p. 140-6, T. p. 238-1-3-4, C2. p. 367-3-20.

Tibetan reads: “Then, one should teach the knowledge-mwafra of the mahd-mudrd of the worship-ritual of all the Tathagatas.” Tattvdloka reads: “Then, one should teach the knowledge-ww<ira of the worship-ritual of all the Tathagatas.”

46S. lcarmamudrah samdsena karmamudra dvidhilcrtd iti: S. p. 141-7-8, T. p. 238-1-6-7, C2. p. 368-1-5-6. ‘

469. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 136-5-1-137-1-6. 47°. S. p. 132, T. p. 237-1-1-2-1, C2. pp. 365-3-14-366-1-1.


the rite of the Vajradhdtu Mahdmandala, but on entry the pupil is given a special pledge and also a crossed emblem symbolising this mandala. a. Structure o f the Vajrakarya Karmamandala “The supreme Karmamandala (of die Tathagata-family) has the basic design of the Vajradhdtu {Mahdmandala) and is called c Vajrakarya (Th/ra-performance)’. One should place die (five) Buddha-images in conformity with the ( Vajradhdtu)

Mahdmandala, and then should draw the goddesses possessing their own symbols {mudrds) in accordance with Vajrasattva and the other (deities described in the Vajradhdtu Mahdmandala).”471 According to this brief description, this mandala!s external structure and images of the five Tathagatas are the same as those of the Vajradhdtu Mahdmandala,412 but die main thirty-two deities are drawn in female forms having die same postures, body-colours and symbols as those corresponding to the Vajradhdtu Mahdmandala. Since the four Paramitas and the eight Offerings have female appearances in the Vajradhdtu Mahdmandala, Sakyamitra473 gives some

information about female images of the sixteen Mahabodhisattvas and the four Guardians. He explains that the four Mahasattvas drawn in the first lunar disc, i.e. Vajrasattva and the rest (Vajraraja, Vajraraga and Vajrasadhu) assume the form of Vajralasya and the rest (Vajramala, Vajraglta and Vajranrtya) respectively. The four Mahasattvas, i.e. Vajrakarma and the rest (Vajraraksa, Vajrayaksa and Vajrasandhi), assume the form of Vajradhupa and the rest (Vajrapuspa, Vajraloka and Vajragandha) respectively. The four Mahasattvas belonging to the Gem-family, i.e. Vajraratna and the rest (Vajratejas, Vajraketu and Vajrahasa), assume the forms of the four Ganapujas. The four Mahasattvas belonging to die Dharma-family, i.e. Vajradharma and the rest (Vajratlksna, Vajrahetu and Vajrabhasa), assume the forms of the four Dhamiapujas. The four Guardians also assume female forms. In the Vajradhdtu Karmapujdmandala of the Gobushinkan,474 which contains the images of the thirty-three deities excluding the four Paramitas, the thirty-two deities excluding Vairocana are drawn in female forms. However, all the main thirty-seven deities drawn in the Puja Assembly of the Nine Assemblies Mandala475 have male appearances, and each of the thirty-two deities excluding the five Tathagatas holds a lotus on which his own symbol is placed.


b. Entry into the Mandala


471. S. p. 135-13-17, T. p. 237-3-5-6, C2. p. 366-3-24-27.

472. Tattvdloka, TTP. Vol. 71, No. 3333, p. 229-4-8-5-1.

473. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 267-3-8-4-2.

474. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, pp. 127-144; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 262-327; Toganoo Shoun, Kongochokyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 369-439.

475. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 939-954; Adrian Snodgrass, The Matrix and Diamond World Mandalas in Shingon Buddhism, p. 675.


“ 111 the beginning, (the pupil) should enter (the mandala) in conformity with entering the (Vajradhdtu) Mahdmandala.416 When he enters, (the wyra-master) should say this to him477: ‘Since this is the pledge (samaya) of worshipping all the Tathagatas, you should do all in your power to make these sixteen478 offerings by day and by night.5 Then, having removed the face-cover (of the pupil) and having revealed the karmamandala, (the va/ra-master) should give him a crossed emblem (visva-cihna)479 into both (his) hands. Then, he is worshipped by all the Tathagatas.”

According to Sakyamitra, this is the samaya-mandala in that it consists of offerings belonging to all the Tathagatas. Thus, in order to keep this pledge (samaya), one should make the sixteen offerings every day without stopping.481 The rite of making the sixteen offerings appears in the next mudrd-knowledge section. The phrase ‘in one's power’ means that if wealth, one may worship all the Tathagatas with flowers, etc., or in case of being familiar with meditation, one may worship them with the mind in any place.482 The words ‘a crossed emblem’ indicate ‘a crossed vajra' 483


3. Mudra-Knowledge


The rite of making the sixteen offering-mudrds in this mandala, which focuses on worshipping the five Tathagatas, is divided into four groups, i.e. four offeringmudrds of generating the thought of great enlightenment, whose function is to make the thought of enlightenment steadfast; four offering-mudrds of all the Buddhas, whose function is to gather the accumulation of merit; four offerin g-mudrds of dharma, whose function is to complete the accumulation of knowledge; and four offonng-mudrds of samddhi, whose function is to lead to enlightenment. In addition, die secret rite of making the four secret offering-mudrds consists in the four ways of the perfect bodily union with die four representative Mahabodhisattvas in samddhi.


a. Mahabodhicittanispattipujamudrajhana


“(a) While steadily generating the thought of enlightenment, one should think, ‘I am a Buddha’. Offering oneself with pleasure, one can attain the bliss of the Buddha.

476 Sanskrit omits: “Mahdmandala".

477. Chinese 2 reads: “the pupil”.

478. Chinese 2 adds: “Mahasattva”.

479. Chinese 2 reads: “emblem of the iftzrma-family”.

480 S. p. 136-3-9, T. p. 237-3-7-4-1, C2. pp. 366-3-28-367-1-6.

48f Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 267-4-7-5-1.

482 Ibid., p. 267-5-1-2.

4S3. Tattvaloka, TTP. Vol. 71, No. 3333, p. 230-1-5-6.


(b) While steadily generating the thought of enlightenment, one should think, ‘I am a Buddha5. Offering oneself with gifts such as a garland, one becomes consecrated (as a Buddha-body by all the Tathagatas).

(c) While steadily generating the thought of enlightenment, one should think, ‘I am a Buddha5. Offering oneself with gifts such as a well-sounding song, one can be gratified.


(d) While steadily generating the thought of enlightenment, one should think, T am a Buddha5. Offering oneself in dance, one becomes worshipped even by the Buddhas.

This rite refers to the four great-offerings made by the four female-shaped Mahabodhisattvas surrounding the Tathagata Alcsobhya in the Vajrakarya Karmamandala. Thus, the sddhaka visualises himself as one of the five Tathagatas, particularly Alcsobhya, who is worshipped with the four offerings, i.e. wantonness (Idsyd), garland, song and dance by the four Mahabodhisattvas, i.e. Vajrasattva assuming the bodily form of Vajralasya, Vajraraja assuming tire bodily form of Vajramala, Vajraraga assuming the bodily form of Vajraglta, and Vajrasadhu assuming the bodily form of Vajranrtya respectively. Sakyamitra explains that segment (a) involves making the thought of enlightenment steadfast, segment (b) involves making it manifest, segment (c) involves making it thoroughly cleansed, and segment (d) involves making living beings mature but without leaving the wheel of transmigration altogether


b. Sarvabuddhapujamudrdjhdna


“(e) As by bowing down using the supreme vajras of the body, speech and mind, so by making offerings to all the Buddhas, one can be certainly greeted with respect (by all living beings). (f) If one offers oneself with rejoicing in the great merit (mahdpunya) of all the Buddhas generated from the body, speech and mind vajra, one can attain the Buddha-nature immediately. (g) If one thinks, T will give to all the Buddhas all the offerings by presenting myself as the divine body, speech and mind vajra.j one will be worshipped (by all the Tathagatas, Bodhisattvas and living beings).

(h) One becomes equal to all the Buddhas by means of the transformational offerings that represent an accumulation of all the virtues of the body, speech and mind vajra ”m This rite refers to the four consecration-offerings made by the four female-shaped Mahabodhisattvas surrounding the Tathagata Ratnasambhava. Segment (e) involves performing the four salutations to all the Tathagatas. However, these salutations, which become the means of gathering the accumulation of merit, are made not by

484 S. p. 136-11-18, T. p. 237-4-1-4, C2. p. 367-1-8-15.

485. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 268-3-3-4.

486. S. p. 137-7-14, T. p. 237-4-6-8, C2. p. 367-1-22-29.


means of the sadhaka's real body, but by means of the vajras transformed from the sadhaka's body, speech and mind. Segment (f) involves worshipping all the Tathagatas with rejoicing in the great merit of all the Tathagatas generated from the body, speech and mind vajra. The method described in this segment (f) makes the accumulation of merit perfect. Segment (g) involves presenting the sadhaka's own body in samddhi. According to Anandagarbha, if the sddhaka visualises himself as Samantabhadra making a salutation to the feet of all the Tathagatas, and worships all the Tathagatas with all the offerings of both the mundane world (loka) and the spiritual world (aloka), he will be worshipped by all the Tathagatas.487 Segment (h) involves blessing the entire accumulation of merit. The method described in this segment (h) is based on ‘the transfer of merit (parindmana-punyaY, common to I later Mahayana, whereby merit itself leads to enlightenment, and a bodhisattva ' shares his ‘roots of merit’ with all beings.


c. Dharmapujdmudrdjhdna


“(i) The dharmas are luminous by nature, and, indeed, from the beginning, they are pure by nature. One who offers oneself along with these dharmas can gain extreme happiness.

(j) The letter ‘A ’ is regarded as supreme in the collection of all the dharmas. One destroys all sufferings with this dharma-mudrd.

(k) The cause of all these dharmas is the Tathagata. If one makes an offering of the wheel of the good dharma,m one can become a dharma-holdQr.

(1) Having said that all the dharmas are by nature like echoes, and having made this dharma-offering, one can gain selffulfilment”

This rite refers to the four dharma-offQrmgs made by the four female-shaped Mahabodhisattvas surrounding the Tathagata Amitabha. This rite focuses on meditating on die attributes of dharmas of the prajhdpdramitdd91 According to Sakyamitra, segment (i) involves meditating on the nature of the pure dharma in order to cleanse oneself of impure perception, segment (j) involves meditating on the Samantabhadra's explanation of the truth that all the dharmas do not arise, segment (k) involves meditating on the wheel of the dharma because the cause of all these dharmas is the Tathagata, and segment (1) involves meditating on the state of absolute inactivity for these dharmas are said to be separated from the true meaning of the words


487. Tattvdloka, TTP. Vol. 71, No. 3333, p. 230-5-3-7.

488. Har Dayal, The Bodhisattva Doctrine in Buddhist Sanshit Literature, pp. 188-193.

489. Tibetan reads: “pledge”, instead of “good dharma”.

490. Tibetan reads: “Buddha-voice”. Chinese 2 reads: “sound of enlightenment”.

S. p. 138-2-9, T. p. 237-5-1-4, C2. p. 367-2-7-14.

491. Tattvdloka, TTP. Vol. 71, No. 3333, p. 231-1-1.

492. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 269-3-6-7.


d. Samadhipujdmudrdjnana


“(m) Visualising oneself as vajra-forms as numerous as infinite particles of dust in the vajras of the body, speech and mind, one can obtain the Fq/ra-nature (or Vajra-body) immediately. (n) Visualising oneself as all the Buddhas as numerous as infinite particles of dust in the vajras of the body, speech and mind, one can acquire a Dharma-body quickly.

(o) Visualising oneself as Vajrasattvas as numerous as infinite particles of dust in the vajras of the body, speech and mind, one can become identical to Vajrasattva.

(p) Visualising oneself as the Buddha-forms as numerous as infinite particles of dust in the vajras of the body, speech and mind, one can attain the Buddha-nature.”

This rite refers to the four samddhi-offerings made by the four female-shaped Mahabodhisattvas surrounding the Tathagata Amoghasiddhi. Segment (m) involves visualising oneself as numerous vajras, segment (n) involves visualising oneself as numerous Dharma-bodies of the five Tathagatas, segment (o) involves visualising oneself as numerous Vajrasattvas, and segment (p) involves visualising oneself as numerous Appearance-bodies {rupa-kaya) of the Buddha endowed with the same thirty-two major marks and eighty minor marks as the Buddha Sakyamuni.


e. Secret Rite


“If one dedicates the innate pleasure-offerings that embrace all the bodies (to the Buddhas), one can indeed become identical to Vajrasattva immediately.

If one dedicates the pleasure of seizing hair494 in strong passionate union with the Buddhas, one can become identical to Vajraratna. If one dedicates the supreme pleasure of being kissed495 which is associated with strong affection and pleasure for the Buddhas, one can become identical to Vajradharma.

If one dedicates entirely the enjoyment arising from practising the samdpatti-yoga of using two organs496 (with the Buddhas) for worship, one can become identical to Vajrakarma.”

This secret worship-rite, which is called lrahasya-pujd-miidrd-jndna'> in the STTS, explains the sadhaka's practice in meditating on and uniting with both the Dharmabodies (dharma-kdya) and the Appearance-bodies {rupa-kaya) of the four Mahabodhisattvas, i.e. Vajrasattva, Vajraratna, Vajradharma and Vajrakarma respectively, who are the four deities representing the four families. Applying these four methods, the sddhaka can achieve the perfect union with his deity. Toganoo


493. S. pp. 138-16-439-6, T. p. 237-5-5-8, C2. p. 367-2-21-28.

494. Tibetan reads: “firmly”, instead of “hair”.

495. Tibetan reads: “being together”.

496. Chinese 2 reads; “the union of the vajra and lotus”, instead of “two organs”.

497. S. p. 139-13-20, T. pp. 237-5-8-238-1-3, C2, p. 367-3-7-14.


Shoun498 interprets these four secret offerings as the means in which the sddhaka worships all the Buddhas with complete happiness attained through union with his deity. He adds that both the previous rite {samadhipujdmudrdjhana) and the above rite are illustrated in the Vajradhdtu Karmapujdmandala of the Gobushinkan


4. Conclusion


The Vajrakarya Karmamandala constitutes the supreme karma-mudrd and represents the Marvellous Action of Vairocana. Since this mandala focuses on the Action of Vairocana, the key word in this mandala is ‘worship or offering {pujd)\ This concept of worship is manifested in the constructed mandala as the femaleshaped thirty-two deities offering their symbols to the five Tathagatas. Thus, the function of this mandala is to guide the sddhaka in worshipping himself as the five Tathagatas and in making die sixteen offerings like the sixteen Mahabodhisattvas worship the five Tathagatas. In addition, by practising the secret rite of making the four secret offerings, the sddhaka, having worshipped with die sixteen offerings, worships himself by meditating on the complete union with his deity, and experiences the perfect state of bliss.

49S. Toganoo Shoun, Mandara no kenkyu, pp. 295-297.

4" . TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 144; Toganoo Shoun, Kongocholcyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 436-439. However, Lokesh Chandra classifies these two illustrations of the Gobushinkan as lNayamandald'. (A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 328-334).


Chapter 5. Epilogue of Part One


Chapter 5 of the Sanskrit STTS serves as an epilogue of part one, and consists of expositions of two mandalas, namely, Vajrasiddhi Caturmudrdmandala and Mahaydndbhisamayamandala. The Vajrasiddhi Caturmudrdmandala consisting of Vairocana and four symbols is revealed for the benefit of those who wish to gather together the essence of the previous four mandalas in one mandala. The Mahaydndbhisamayamandala containing only a single deity, i.e. Vajrasattva, is revealed for the benefit of those who prefer the quick and easy doctrine and ritual. By means of these two mandalas, although they are relatively simpler, the sddhaka can attain not only the accomplishment of the practices in the previous four mandalas, but also complete enlightenment.


A. Vajrasiddhi Caturmudrdmandala


The first part of chapter 5 of the STTS500 deals with the fifth mandala of the Vajradhdtu, called Vajrasiddhi Caturmudrdmandala (or Vajrasiddhi Mudrdmandala). The term *catur-mudrd-mandala' means a mandala of assembling the four seals which refer to the four mandalas. Thus, this mandala is a symbolic synthesis of the basic principles of the four mandalas of the Vajradhdtu, namely, mahd-, dhdrani-, dharma- and karma-mandalas (or Vajradhdtu Mahdmandala, Vajraguhya Vajramandala, Vajrajnana Dharmamandala and Vajrakarya Karmamandala). These four mandalas are in reality one mandala, seen from four different aspects, and are, in effect, inseparable. This Vajrasiddhi Caturmudrdmandala,

therefore, symbolises the fusion of the previous four mandalas into a single mandala.501 The main purpose of establishing this mandala as a simplified unity of the previous four mandalas is mentioned in the STTS “There are living beings whose views are wrong, whose actions are evil, who are deficient in strength,502 who have no deliverance from pain and who are ignorant of various actions. Due to deficiency in strength, they do not enter the great mandalas of the family of all the Tathagatas, i.e. the Vajradhdtu {Mahdmandala) and the other {mandalas)503 For their benefit, this Vajrasiddhi Mudrdmandala, which becomes the pledge {samaya) of the mandala of the family of all the Tathagatas,504 is consecrated in order to realise the goals that range from the liberation of the entire and complete sphere of living beings, experiencing complete


500 S. pp. 142-148 of chapter 5, T. p. 238-1-8-5-7, C2. pp. 368-1-7-369-1-4.

50h Lokesh Chandra, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, p. 43. 502. Chinese 2 omits: “who are deficient in strength”.

503. Chinese 2 omits: “the Vajradhdtu and the rest”.

504. Chinese 2 reads: “ Vajrasiddhimandala Sarvatathdgatamudrdmandala Sarvatathdgatakulasamayatattvamandala”.


benefit, pleasure and satisfaction to the highest attainment of the vcijra of all the Tattiagatas.”

The samddhi-section of this mandala500 enumerates the names of only five Tathagatas in correct order, i.e. Sarvatathagatamusti, Vajrasattvamusti, Vajraratnamusti, Yajradharmamusti and Vajrakarmamusti. These five deities are manifested in the mandala as an image of Yairocana in the centre and four symbols in place of the four Tathagatas, i.e. vajra, gem, lotus and crossed vajra.

The mi/dra-knowledge section explains the four ways of accomplishing the four mudras which symbolically represent the previous four mandalas. According to Amoghavajra, this mandala gives the rite of realising the four kinds of rapid attainment, and facing this mandala, the sddhaka realises the attainments of the four mandalas 501 This section also explains a secret rite which perfects these four mandalas.


A-L Structural Analysis of the First Part o f Chapter 5


(1) The first section of die first part of chapter 5 of the STTS starting with the words, “Then, the Lord Tathagata Vairocana”508 and ending with the words, “OM VAJRA-KARMA-MUSTI HAM”,509 provides an exposition of the fifth samddhi510 called the supreme mandala-king of the Vajrasiddhi Caturmudramandala.

(2) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”511 and ending with the words, “One should reveal the mandala”,512 explains the mandala-htGS of the Vajrasiddhi Caturmudramandala.

(3) The next section starting with the words, “Then, one should explain the pledge of the mudras of all the Tathagatas”513 and ending with the words, “This is the highest mandala of the va/ra-activity”,514 explains die mw^ra-knowledge of die


505. S. pp. 144-13-145-5, T. p. 238-3-6-4-1, C2. p. 368-2-16-23.

506. S. pp. 142-4-143, T. p. 238-1-8-3-1, C2. p. 368-1-8-2-3.

507. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-8-10.

508. atha bhagavan vairocanas tathagcitah: S. p. 142-4, T. p. 238-1-8, C2. p. 368-1-8.

509. S. p. 143-15, T. p. 238-3-1, C2. p. 368-2-3.

51°. When Anandagarbha analyses twenty-four out of the twenty-eight mandalas described in the STTS, he uses the common terms associated with the three samddhis, i.e., the first samddhi o f the initial yoga, the second samddhi called the supreme mandala-king and the third samddhi called the supreme action-king. However, when explaining the four kinds of caturmudrd- mandalas described in the STTS, he uses the term ‘the fifth samddhi'. Thus, the samddhis used in the catur-mudrd-mandalas consist of the samddhi o f the initial yoga, the fifth samddhi called the supreme mandala-king and the fifth samddhi called the supreme action-king. The reason why he uses the term ‘the fifth samddhi’ is not obvious, but possibly because the catur-mudra-mandala is positioned as the fifth mandala in each part of the four main mandalas, i.e. Vajradhatn, Trilokavijaya, Sakalajagadvinaya and Sarvaarthasiddhi, and also because its composition is a symbolic synthesis of the basic principles of the four mandalas, i.e. mahd-, dharani-, dharma- and karma-mandalas.


51 h atha vaj?'apanir mahabodhisattvah: S. p. 144-1, T. p. 238-3-1, C2. p. 368-2-4.

512. mandalan darsayet: S. p. 145-8-9, T. p. 238-4-3, C2. p. 368-2-26.

513. tatah sarvatathagatamudrdsamayam bruydt: S. p. 145-10, T. p. 238-4-3, C2. p. 368-2-27.

514. vajrakdrydgramandala iti’. S. p. 147-9-10, T, p. 238-5-2, C2. p. 368-3-20.


Vajrasiddhi Caturmudramandala, which consists of the two rites, i.e. the rite of attaining the four mudras described in the previous four mandalas of the Vajradhdtu and the secret rite of attaining the previous four mandalas of the Vajradhdtu.

(4) The final section starting with the words, “Then, one should teach the (rite of) binding the four {mudras) including the maha-mudrds of Vajrasattva515 and the rest”516 and ending with the words, “They can achieve the supreme attainment within a year”,517 constitutes the concluding part of the Vajrasiddhi Caturmudrdmandala.


A-2. Structure o f the Vajrasiddhi Caturmudramandala


As already mentioned, the Vajrasiddhi Caturmudramandala consists of an image of Vairocana constructed in the centre of the mandala and four symbols drawn in place of the four Tathagatas, i.e. vajra, gem, lotus and crossed vajra. These four symbols, which represent four Paramitas, four families and four mudras, refer to the previous four mandalas of the Vajradhdtu in this mandala because the previous four mandalas correspond to the supreme four mudras.

“The supreme Mudramandala (of the Tathagata family) has the basic design of the Vajradhdtu (Mahdmandala) and is called ‘ Vajrasiddhi (Fayra-success)’. (The whole mandala) should be designed in conformity with the {Vajradhdtu) Mahdmandala. First, one should set up a form of the Buddha (Vairocana), and then should draw the four symbols {mudras), i.e. the vajra-mudrd and the rest {ratna-, padma- and karma-mudras) in the centres of the (four) lunar discs (surrounding Vairocana).”5

Anandagarbha explains that this mandala consists of Vairocana and the four symbols of four Paramitas.520 Sakyamitra, however, regards this mandala as consisting of five deities and four symbols of four Paramitas, i.e. Vairocana in the centre, the four Paramitas in the four Tathagatas' places, and their four symbols between the pillars.521 The Vajradhdtu Caturmudramandala of the Gobushinkan522 seems to support the view of Sakyamitra because it consists of 515. Tibetan and Kosaldlamkara both read: “Sattvavajri”.


516. tato yathdvad vajrasattvddimahamudrdbandhacatustayam siksayitva: S. p. 147-11-12, T. p. 238-5-2-3, C2. p. 368-3-21.

517. varsenottama siddhir: S. p. 148-6, T. p. 238-5-7, C2. p. 369-1-2-3.

518. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 137-1-6-3-6.

519. S. p. 144-5-9, T. p. 238-3-3-5, C2. p. 368-2-8-12.

520. A vajra as the symbol of Sattvavajri is drawn in the place of Aksobhya, a gem as the symbol of Ratnavajri in the place of Ratnasambhava, a lotus as the symbol of Dharmavajri in the place of Amitabha, and a crossed vajra as the symbol of Karmavajri in the place of Amoghasiddhi. {Tattvdloka, TTP. Vol. 71, No. 3333, p. 234-1-2-5).

521. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 271-5-5-8.

522. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 145; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 335-341; Toganoo Shoun, Kongochokyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 441-448.


Vairocana in the centre, four representative Mahabodhisattvas (i.e. Vajrasattva, Vajraratna, Vajradharma and Vajrakaima) holding their symbols in the four Tathagatas' places, and the four symbols in the four corners. This mandala also includes the four hand gestures referring to the four symbols, which are positioned at the four comers outside the internal circle. The Caturmudra Assembly of the Nine Assemblies Mandala523 consists of the images of five deities and eight symbols, i.e. Vairocana, four Mahabodhisattvas (Vajrasattva, Akasagarbha, Avaloldtesvara and Vajrakaima), their four symbols, and four symbols of four Internal Offerings. In this mandala the four symbols of four Internal Offerings, i.e. a vajra with three prongs at both ends, a garland, a vajra-vlna and a crossed vajra with three prongs at both ends, are positioned at the four comers outside the internal circle. Based upon the STDS's brief description that all the (other four) mandalas, i.e.

Aksobhya's mandala and the rest, should be constructed in accordance with the Vajrasiddhi Caturmudramandala, and their own mudras should also be drawn in conformity with the (Vajrasiddhi) Caturmudramandala in order to gain all the attainments,524 Anandagarbha defines the term Vajrasiddhi Caturmudramandala whereby * Vajrasiddhi’ indicates Vairocana, and * Caturmudramandala' means the mandala containing the four symbols of the four Paramitas who are Vairocana's attendant Mahabodhisattvas. He provides some detailed information about the caturmudrdmandalas of four Tathagatas, namely, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi. The caturmudramandala of Aksobhya, for instance, consists of the Tathagata sitting on an elephant-seat in the position of Vairocana, and four symbols of the four attendant Mahabodhisattvas drawn in place of the four Tathagatas, i.e. the five-pronged vajra of Vajrasattva, the hook of Vajraraja, the bow and arrow of Vajraraga and the mudrd of Vajrasadhu.


A-3. Mudra Knowledge


The TWfdra-knowledge section of the Vajrasiddhi Caturmudramandala can be divided into two, i.e. the rite of perfecting the four mudras explained in the previous four mandalas of the Vajradhdtu and the secret rite of perfecting the previous four mandalas of the Vajradhdtu.


a. Rite o f Perfecting the Four Mudras


"(a) If one should bind any mudrd of any great being, one should visualise as oneself that (great being) while reciting the hrdaya (of that great being). By following this instruction, according to the words of Vajrapani, one can achieve all the mudras of all the great beings successfully.

523. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 955-961; Lokesh Chandra, Sarva- Tathagata-Tattva-Sahgraha, Introduction, p. 42; Adrian Snodgrass, The Matrix and Diamond World Mandalas in Shingon Buddhism, p. 686.

524 S. p. 147-13-15, T. p. 238-5-3-4, C2. p. 368-3-22-25.

525. Tattvdloka, TTP. Vol. 71, No. 3333, p. 237-1-1-2-7.


(b) Having controlled one's own organ, one should seize it using the vfl/m-fist.526 One who can touch the (samaya-) mudrd in this way will subdue it instantly.

(c) Employing the rite of the subtle-vayra, one should bind the knowledge-mwrira. By means of this rite, one can subdue the knowledge-mwrira.

(d) If one presents the pleasures of song, dance, flavour, food and play to the Buddhas, one can subdue the karma-mudra.”527 This rite shows the characteristics of the four mudras which are common to the previous four mandalas. The title of segment (a) in the Sanskrit STTS is ‘the pledge of the mudrd of all the Tathagatas (sarvatathagata-mudra-samayay ,528 which refers to the method of attaining all the maha-mudras explained in the previous four mandalas of the Vajradhdtu. Anandagarbha explains that the words ‘any mudrd’ refer to the maha-mudras of the previous four mandalas, i.e. maha-, dharani dharma-, and karma-mandalas, but Sakyamitra favours the four mudras, i.e.

maha-, samaya-, dharma-, and harma-mudrds. Anandagarbha further explains that the words ‘any great being’ (mahdtmanah) refer to the thirty-seven deities, i.e. Vairocana and the rest, but Sakyamitra refers to the sixteen Mahabodhisattvas, i.e. Vajrasattva and the rest.529 The view of Anandagarbha is more reasonable than Sakyamitra because the maha-mudra, which symbolises the bodily image of deity, consists in visualising the image of the deity. The title of segment (b) is ‘the secret of all the mudras (sarva-mudra-rahasyaY, which refers to the method of attaining all the samaya-mudrds explained in the previous four mandalas of the Vajradhdtu. The words ‘having controlled one’s own organ’ are explained by Anandagarbha: “When meditating on the emptiness of the dharmas, and it becomes evident that all the dharmas are gathered, one should take mental possession of the bodily image of one’s deity.”530 Since the above rite uses the vq/ra-fist instead of using the vajrabond which is die original cause of all samaya-mudrds, Toganoo Shoun

interprets the words ‘one should seize it using the vajra-fisV from an illustration, which has a Buddha placed upon the vajra-bond, in the Vajradhdtu Caturmudramandala of the Gobushinkan.532 The title of segment (c) is ‘the essence of all the mudras (sarva-mudra-dharmataY, which refers to the method of attaining all the dharma-mudrds explained in the previous four mandalas of the


526. Tibetan reads: “va/ra-bond”.

527. S. pp. 145-11-146, T. p. 238-4-3-7, C2. p. 368-2-28-3-11.

52S. Chinese 2 reads: “sarvatathagata-lcula-mudrd-samaya”.

529 Tattvdloka, TTP. Vol. 71, No. 3333, p. 234-5-1-3; Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 272-4-1-2.

530. Tattvdloka, TTP. Vol. 71, No. 3333, p. 235-1-1-2.

53 k Toganoo Shoun, Mandara no kenlyu, p. 308.

532 TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 145; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, p. 336; Toganoo Shoun, Kongocholcyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, p. 442.


Vajradhdtu. According to Anandagarbha,533 if the sadhaka meditates on a subtlevajra and binds the knowledgQ-mudra which refers to all the dharma-mudrds explained in the previous four mandalas, he immediately subdues all the dharmamudrds. The title of segment (d) is ‘the ritual of all the mudras (sarva-mudrdkarma)\ which refers to the method of attaining all the karma-mudras explained in the previous four mandalas of the Vajradhdtu. Anandagarbha explains that ‘song (gltaf refers to Vajragita, etc.; ‘dance (nrtya)' refers to Vajranrtya, etc.; ‘flavour (rasa)' refers to not only tranquillity experienced from union with a deity but also the thought (Tibetan nyams) endowed with the essence of (Vajra-) Lasya, etc.; ‘food (dhdraf refers to one hundred tastes of food, etc.; and ‘play (vihdraf refers to either possessing the characteristics of sitting, walking, stopping and lying, or abiding in Avalokitesvara who cleanses the (sadhaka's) mind.534 Thus, if the sadhaka generates bliss from making the various offerings, and worships all the Tathagatas with it in his samddhi, he can accomplish all the karma-mudras.


b. Secret Rite o f Perfecting the Four Mandalas


“(a) Having made the sign (lingo) steadfast in oneself, one should abide in (a state of mind being purified like) a white cloth.535 Having empowered the sign as a stupa (<caitya)536 one should visualise oneself as the Vajradhdtu (Mahdmandala).

(b) Having made the vq/Az-bond (vajra-bandha) firm, one should erect the middle fingers like a sprout, and raise both little fingers and forefingers. This is the pledge (samaya) of the supreme pledges.

(c) By means of the subtle-vq/Az (sulcsma-vajra), one should meditate while concentrating the mind. Hie subtlo-vajra-mandala becomes the principle of controlling the samddhi.


(d) Having bound the two (separated) vajra-mudrds, one should firmly seize a (crossed) vajra consisting of the two (yajras), and bind together the little fingers and the forefingers. This is the supreme Vajrakdrya531 (Karma-) mandala,”

These four segments (a~d) entitled ‘the secret mwJrn-knowledge of perfecting all the mandalas (sarva-mandala-sddhikd-rahasya-mudrd-jhdndf explain the means of accomplishing the four mandalas of the Vajradhdtu. Anandagarbha539 interprets the term ‘sign (lihgaf as the union between the thought of enlightenment (bodhicitta) symbolised as a vajra and the six perfections (pdramitaj) symbolised as a y r lotus. The words ‘abiding in a white cloth’ refer to the sadhaka discerning the


533. Tattvdloka, TTP. Vol. 71, No. 3333, p. 235-1-5-8. 534 Ibid., p. 235-2-3-5.

535. Chinese 2 reads: “one should sit on the seat steadily, abiding in tranquillity”.

536. Tibetan reads: “the thought of the sign”.

537. Chinese 2 reads “ Vajrakdrya” as “ Vajrakaya”.

538. S. p. 147-2-10, T. p. 238-4-8-5-2, C2. p. 368-3-13-20.

539. Tattvdloka, TTP. Vol. 71, No. 3333, p. 235-3-3-4-8.


thought of enlightenment, by practising the first abhisambodhi, just as discerning the nature of a white cloth without defilement. The words ‘having empowered the sign as a stupa' refer to visualising a vajra on the lunar disc. Toganoo Shoun540 interprets the words ‘having empowered the sign as a stupa' from an illustration, which has a bodhisattva meditating on a stupa, in the Vajradhdtu Caturmudramandala of the Gobushinkan,541 Thus, it is evident that tire method described in segment (a) is the summary of the five abhisambodhis dealt with in chapter 1. Segment (b) explains the method of accomplishing the Vajraguhya Vajramandala by forming hand gestures (samaya-mudra) because this mandala is classified as the dhdranl-mandala which constitutes the supreme samaya-mudra. Since all the samaya-mudrds are generated from the vayra-bond, this method also begins with making the vajra-bond firm. According to Anandagarbha, the term ‘pledge {samaya)' indicates the samaya-mudra and ‘supreme pledges’ refer to the samaya-mudrds of the five Tathagatas.542 Segment (c) describes the method of accomplishing the Vajrastilcsma Jnanamandala (or Vajrajndna Dharmamandala) by reflecting upon a subtle-vay'ra at the tip of the nose, as explained in the four dhydnas section of chapter 3. The subtlQ-vajra-mandala in this context indicates the Vajrasulcsma Jnanamandala. Finally, segment (d) describes the method of accomplishing the Vajrakdrya Karmamandala, by forming the two vajra-mudrds, which indicate the two separated vayra-fists (vajra-musti) regarded as the original cause of all the karma-mudras.

A characteristic of this secret rite is that the previous secret rites use the secret meditational methods of anuttara-yoga tantra, but this rite, on the basis of the correspondence between the four mandalas and the four mudras, uses the methods of making the four mudras.


A-4. Conclusion


The Vajrasiddhi Caturmudramandala symbolically unites the previous four mandalas of the Vajradhdtu into a single mandala, and consists of the image of Vairocana and the four mudras (symbols) of the four Paramitas, i.e. vajra, gem, lotus and crossed vajra. These four symbols represent not only the essential principles of the previous four mandalas of the Vajradhdtu but also the four mudras of Vairocana, i.e. the Body, Mind, Speech and Action of Vairocana. Since the four Paramitas have the function of generating these four mudras of Vairocana in the sddhaka's mind, tire Vajrasiddhi Caturmudrd-mandala guides the sadhaka in generating the four mudras of Vairocana abiding in his nature. As a result, the sadhaka perfectly controls his body, mind, speech and action like Vairocana, and

54°. Toganoo Shoun, Mandara no kenlcyu, p. 310.

541. TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 145; Lokesh Chandra, A Ninth Centwy Scroll o f the Vajradhdtu Mandala, p. 336; Toganoo Shoun, Kongdcholcyo no Kenlcyu, Toganoo Sh5un Zenshu, Extra Vol. Ill, p. 442.

542. Tattvdloka, TTP. Vol. 71, No. 3333, p. 236-2-5-6.


also attains the four Wisdoms simultaneously, i.e. Mirror-like-Wisdom, Equality- Wisdom, Discriminating-Wisdom and Active-Wisdom.


B. Mahdydndbhisamayamandala


The second part of chapter 5 of the STTS consists of the exposition of the sixth mandala of the Vajradhdtu, called Mahdydndbhisamayamandala {Mandala of the Perfect Comprehension of the Mahayana),543 and a closing ceremony of the Vajradhdtu.544 Amoghavajra and Anandagarbha name this sixth and last mandala as Ekamudrdmandala (of the Vajradhdtu).545 Since the STTS does not use the term eka-mudra-mandala (one-SGal-mandala), some commentators such as Donjaku and David Snellgrove546 do not recognise drat it is explained in the STTS. While the preceding catur-mudra-mandala symbolises the complete fusion of the four mandalas, this eka-mudrd-mandala involves the absolute disappearance of all individuality as all the Tathagatas and Bodhisattvas are reabsorbed into a single deity,547 represented by Vajrasattva. Toganoo Shoun argues that Vajrasattva is chosen for this mandala because he is regarded as Jnanasattva who abides in die hearts of all the Tathagatas and who epitomises not only the thought of enlightenment (bodhi-citta) but also the essence of all the Tathagatas.


B-l. Structural Analysis o f the Second Part o f Chapter 5


(1) The first section of the second part of chapter 5 of die STTS starting with the words, “Then, the Lord Vairocana”549 and ending with the words, “VAJRASATTVA”,550 provides an exposition of the second samddhi called the supreme mandala-king of the Mahdydndbhisamayamandala. Since this mandala focuses on only a single deity, Vajrasattva, the second samddhi of this mandala consists in assembling and blessing only Vajrasattva. (2) The next section starting with the words, “Then, the Lord Mahabodhisattva551 Vajrapani”552 and ending with the words, “You will die immediately”,553 explains the mandala-rites of the Mahdydndbhisamayamandala.


543. S. pp. 149-151-6 of chapter 5, T. pp. 238-5-7-239-2-3, C2. p. 369-1-5-2-6.

544 S. pp. 151-7-152 of chapter 5, T. p. 239-2-3-8, C2. p. 369-2-7-22.

545. The term ‘eka-mudra-mandala’ in the STTS appears only once on page 380 line 6 of the Sanskrit STTS text.

546. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 13. Though Danapala's Chinese version is the complete translation of the STTS, Donjaku states: “(Danapala's) Chinese translation omits the explanation of the eka-mudrd-mandala, but the original Sanskrit text must have contained it.” (TSD. Vol. 61, No. 2225, p. 124-1-18-19).


547. Lokesh Chandra, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, p. 46.

54S. Toganoo Shoun, Mandara no kenlcyu, p. 318.

549. atha bhagavam vairocanah: S. p. 149-1, T. p. 238-5-7, C2. p. 369-1-5,

550 S. p. 149-5, T. p. 239-1-1, C2. p. 369-1-9.

55 f Tibetan and Tattvdloka both read: “Bodhisattva Mahasattva”.

552. atha bhagavam vajrapdnir mahabodhisattvah: S. p. 149-6, T. p. 239-1-1, C2. p. 369-10. 553. akalamaranam vd sydd iti: S. p. 150-5-6, T. p. 239-1-6, C2. p. 369-1-20-21.


(3) The next section starting with the words, “Then, one should teach the knowledge of accomplishing the supreme attainment of Vajrasattva”554 and ending with the words, “One can be quickly successful”.,555 explains the mudrd-knowledge of evoking and attaining Vajrasattva.


(4) The next section starting with the words, “Then, one should teach the knowledge of a secret pledge (common to) all the mandates”556 and ending with the words, “The pledge-obligation should be given”,557 explains the knowledge of a secret pledge of accomplishing all the attainments described in part one of the STTS. (5) The next section starting with the words, “Then, one should teach (the rite of) binding the four {mudras) of Vajrasattva, i.e. the mahd-mudra and the other (mudras)”55* and ending with the words, “Such is done in accordance with the extensive rite of the Vajradhdtu Mahdmandala” 559 summarises all the attainments acquired by means of binding the four mudras of Vajrasattva described in the Mahdydndbhisamayamandala which are the same as those of the Vajradhdtu Mahdmandala.


(6) The final section starting with the words, “Then, all the Tathagatas gathered together in a conclave”560 and ending with the words, “One can attain in this present life the unlimited and imperishable bliss”,561 constitutes the closing section of part one, which includes a verse praising Vajrasattva (alias Vajrapani) by all the Tathagatas.


B-2. Structure o f the Mahdydndbhisamayamandala


According to die STTS562 only Vairocana enters the samddhi called ‘pledge-vq/ra (samaya-vajra) of the supreme attainment of all the Tathagatas’, and Vajrasattva appears from Vairocana's heart. Thus, the Mahdydndbhisamayamandala contains only Vajrasattva representing eka-mudra, by which the sadhaka can achieve all the attainments of the previous five mandates of the Vajradhdtu.


554. tato vajrasattvottamasiddhisadhanajhanam siksayet: S. p. 150-7, T. p. 239-1-6, C2. p. 369- 1-22.

555. sidhyate laghur iti: S. p. 150-9-10, T. p. 239-1-7, C2. p. 369-1-24.

556. tatah sarvamandalaguhyasamayajndnam silcsayet: S. p. 150-11, T. p. 239-1-7, C2. p. 369-1- 25.’

557. samayasamvaran datavyam: S. p. 151-2, T. p. 239-2-1, C2. p. 369-2-2.

55S. tato vajrasattvamahamudrddibandhacatustayam siksayet: S. p. 151-3, T. p. 239-2-1, C2. p. 369-2-3.

559. evam yatha vajradhdtumahdmandalavidhivistara iti: S. p. 151-5~6, T. p. 239-2-2~3, C2. p. 369-2-5-6.

560. atha sarvatathagatah punar api samdjam agatya: S. p. 151-7, T. p. 239-2-3, C2. p. 369-2- 7.

561. sadhayej janmanihaiva sukham aJcsayam avyayam iti: S. p. 152-4-5, T. p. 239-2-6-7, C2. p. 369-2-20.

562. Cf. Tattvdloka, TTP, Vol. 71, No, 3333, p. 137-3-6-5-2.

563. S. p. 149-1-9, T. pp. 238-5-7-239-1-3, C2. p. 369-1-5-12.


“The supreme Sattvamandala5M (of the Tathagata family) has the basic design of the Vajradhdtu (Mahdmandala) and is called ‘Vajrasattva’. The external mandala should be designed in conformity with the (Vajradhdtu) Mahdmandala, and Vajrasattva should be placed at the centre of a lunar disc,

Anandagarbha comments that the image of Vajrasattva is either made as a cast or sculpture, or drawn on a cloth.566 The Vajradhdtu Ekamudramandala of the Gobushinkan561, which is drawn in accordance with the above description of the STTS, has only Vajrasattva sitting on a red lotus and holding a three-pronged vajra, drawn inside a lunar disc. However, the Ekamudra Assembly of the Nine Assemblies Mandala5m shows Vairocana in jndna-musti-mudra,569 and there are four vases570 drawn in the four comers, which symbolise the four wisdoms of the four Tathagatas. These two mandalas differ in that the former focuses on Vajrasattva as the cause or means for enlightenment, but the latter focuses on Vairocana as the result of enlightenment, and also follows a rule that Vairocana should be positioned in the centre of the mandala like the previous five mandalas. According to Amoghavajra, however, the Mahdydndbhisamayamandala should consist of seventeen or thirteen deities. He explains that either if one possesses the mantra of Vairocana, one can summon seventeen deities, or if one possesses the mantra of the Bodhisattva Vajrasattva, one can summon thirteen deities.571 Concerning the numbers of deities mentioned by Amoghavajra, whereas the seventeen deities consist of the image of Vairocana and sixteen symbols which represent the four Paramitas, the eight Goddesses of Offering and the four Guardians, the thirteen deities consist of the image of Vajrasattva and twelve symbols which represent the eight Offerings and the four Guardians.


B-3. Mudra-Knowledge


564 Kosaldlamkara reads: “Mahdsattvamandala”. (TTP. Vol. 70, No. 3326, p. 274-3-4). Anandagarbha comments that the Sattvamandala means the Vajrasattvamandala.


(Tattvdloka, TTP. Vol. 71, No. 3333, p. 238-1-7).

565. S. p. 149-10-14, T. p. 239-1-3-4, C2. p. 369-1-13-16.

566 Tattvdloka, TTP. Vol. 71, No. 3333, p. 238-2-5-6.

567 TSD. Tu-xiang-bu (Iconographic Section), Vol. 2, p. 146; Lokesh Chandra, A Ninth Century Scroll o f the Vajradhdtu Mandala, pp. 342-343; Toganoo Shoun, Kongochdlcyo no Kenlcyu, Toganoo Shoun Zenshu, Extra Vol. Ill, pp. 449-451.

568. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, annexe paper; Lokesh Chandra, Satva- Tathagata-Tattva-Sangraha, Introduction, p. 45; Adrian Snodgrass, The Matrix and Diamond World Mandalas in Shingon Buddhism, p. 697.

569. Lokesh Chandra (Sarva-Tathagata-Tattva-Safigraha, Introduction, p. 46) asserts that the Sanskrit term elm-mudrai designates the jnana-miisti-mudra’ (knowledge-fist-seal), which is the specific mudrd of Vairocana of the Vajradhdtu.

570. A vase symbolising the universe occurs in ancient Indian ritual earlier than the mandala. In order to bring down the divine essence, five vases filled with various substances are placed in the five sectors of the mandala, i.e. one at the centre, and the other four at the four comers. (Giuseppe Tucci, The Theory arid Practice o f the Mandala, p. 24).

571. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-11-12.

572. Cf,, Toganoo Shoun, Mandara no kenlcyu, pp. 324-325.


The mudrd-knov/l&dge section of tlie Mahdydndbhisamayamandala consists of two rites, i.e. the rite of perfecting the supreme attainment of Vajrasattva and the rite of secret-pledge of all the mandalas of the Vajradhdtu. The former explains a method of evoking Vajrasattva abiding in the Mahdydndbhisamayamandala, and the latter provides a secret pledge, which is a preparation for practising and accomplishing the deity-yoga. Thus, according to Amoghavajra, this section of the STTS explains the preliminary activities in order to guide the sadhaka to practise the samddhi that involves summoning his deity (sva-deva).512


a. Vajrasattvottamasiddhisddhanajndna


“If one, who has ascended to the full-moon-mandala and has seized the mahd-mudra, visualises Vajrasattva as oneself, one can be quickly successful.”

Sakyamitra comments that the maha-mudra in this context refers to the symbol of Vajrasattva, i.e. a five-pronged vajra.515 This rite refers to the deity -yoga, i.e. the sadhaka's visualisation of and union with Vajrasattva who meditates holding a fivepronged vajra drawn in the mandala. Anandagarbha explains this rite:-

“In conformity with the rite of the Vajradhdtu Mahdmandala, the sadhaka should execute Hie yoga of Vajrasattva. While malting the Vajrasattva's four mudras as well as reciting the Vajrasattva's hrdaya: ‘Vajra’, he should visualise himself as Vajrasattva who abides in the lunar disc, and thus he can become identical to Vajrasattva.”


Thus, it is evident that the main purpose of the mandala of one deity is a swift and uncomplicated realisation of Vajrasattva who epitomises the essence of Buddhahood.


b. Sarvamandalaguhyasamayajnana


“In the three realms, there is no other evil like aversion (to desire). Thus, you should not perform (the deity -yoga) with aversion to desire.


MAHA-SAMAYA HANA PHAT.


David Snellgrove578 argues that this rite is closely related to sexual yoga. Anandagarbha comments that ‘aversion to desire’ means having an antipathy towards the supreme and perfect enlightenment (bodhi).579 The above quotation shows that without prejudice the sadhaka should practise all the deity-yogns

573. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-13-14.

574 S. p. 150-8-10, T. p. 239-1-6-7, C2. p. 369-1-23-24.

575. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 274-4-8.

576 Tattvdloka, TTP. Vol. 71, No. 3333, p. 238-5-1-3.

577 S. p. 150-12-14, T. p. 239-1-7-8, C2. p. 369-1-26-29.

578. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 38.

579. Tattvdloka, TTP. Vol. 71, No. 3333, p. 238-5-6.


described in part one of the STTS, which involve heterodox practices, such as union with a female deity, but which provide the supreme attainments.


B-4. Closing Ceremony of the Vajradhdtu


The final section of part one of the STTS ends with the following closing ceremony, where all the Tathagatas gather together in a conclave and bless Vajrasattva or Vajrapani:-


"(a) Then all the Tathagatas once again gathered together in a conclave, and bestowed applause on die Lord Sarvatathagatadhipati Mahabodhicitta Vajrasattva Mahavajrapani580 with

the following hrdaya of vajra-joy:-

(b) OM, Bravo to you, Vajrasattva! Bravo to you, Vajraratna! Bravo to you, Vajradharma! Bravo to you, Vajrakarma! This well-spoken sutra is the supreme Vajrayana, the secret of all the Tathagatas, and the compendium of the Mahayana.


(c) If one evokes certainly the supreme creator of all attainments known as Vajrasattva, one attains Buddhahood easily. If one attains the bliss in this present life through concentrating on the vajra-dharma together with (offering) all desire-pleasures, this bliss will be unlimited and imperishable.”

Paragraph (b) contains a fourfold acclamation given to Vajrasattva by all the Tathagatas, affirming that Vajrasattva possesses the nature of Vairocana endowed with the four families and four wisdoms, because die four main Mahabodhisattvas represent the four families as well as the four wisdoms. Anandagarbha defines the name of Vajrasattva as the Vajra of the (Bodlii-) Sattva abiding in the heart of all the Tathagatas generated from the Vajra of the (Bodhi-) Sattva of the Lord Vairocana who generates Vajrasattva and the rest from the nature of Mahavairocana.582 Each of the main mandalas enunciated in the STTS closes with the same paragraph as paragraph (b).583 According to Anandagarbha, the ceremony is introduced in order to prove that the knowledge (rtogs-pa) enunciated by Vajrasattva is the essence of the Buddha-word, and also to praise Vajrasattva abiding in the heart.584 This ceremony seems a kind of confirmation or approval ritual given by the va/ra-master to his pupil who has already generated the thought 550. Chinese 2 reads: “Vajradhatu Vajrapani Bodhisattva Mahasattva”, instead of “Vajrasattva Mahavajrapani”.


551. S. pp. 151-7-152-5, T. p. 239-2-3-7, C2. p. 369-2-7-20.

582 Tattvdloka, TTP. Vol. 71, No. 3333, p. 239-3-5-7.

583. S. p. 151-11-14, T. p. 239-2-4-5, C2. p. 369-2-13-16.

The above same paragraph appears nine more times in the whole STTS text:-

(1) S. p. 252-9-13, T. p. 250-1-1-2, C2. p. 389-1-10-13, (2) S. p. 313-3-7, T. p. 254-3- 8-4-1, C2. p. 398-3-26-29, (3) S. p. 380-10-14, T. p. 261-1-5-7, C2. p. 411-3-18-21, (4) S. p. 434-3-7, T. p. 266-2-8-3-2, C2. p. 423-1-11-14, (5) S. p. 475-10-14, T. p. 271-1- 1-3, C2. p. 429-3-1-4, (6) S. p. 498-3-7, T. p. 273-4-5-6, C2. p. 433-2-4-7, (7) S. p. 517- 9-13, T. p. 276-1-6-7, C2. p. 436-2-25-28, (8) S. p. 548-6-10, T. p. 281-2-2-3, C2. pp. 442-3-28-443-1-2, (9) S. p. 562-3-7, T. p. 283-1-7-8, C2. p. 445-1-22-25. 584 Tattvdloka, TTP. Vol. 71, No. 3333, p. 239-2-5-7.


of enlightenment manifested as Vajrasattva from the heart, and has successfiilly completed all the practices of the Vajradhdtu.

The Vajradhdtu Mandala (part one of the STTS) consisting of six mandalas represents the Tathagata-family, and it is not only generated from all the Tathagatas but also arises from the thought of enlightenment, so it is called the mahd-mudra, and is enunciated in order to show the practice of abandoning passion by passion.585 The six mandalas of the Vajradhdtu denote the six stages of enlightenment accomplished by the sadhaka in sequence. The first four mandalas represent Body, Mind, Speech and Action of Vairocana respectively, and the caturmudrd- mandala gathers together the essence of the four mandalas in one. The sixth and final elca-mudra-mandala concludes with Vajrasattva who is the representative of Vajrayana Buddhism as well as symbolic guide leading to Vairocana. The ultimate end of the Vajradhdtu Mandala is to guide the sadhaka to generate the thought of enlightenment and to gain the supreme attainments of all the Tathagatas by means of practising the various skills and techniques of yoga tantra based on Mahayana bodhisattva doctrines of enlightenment.

585. Ibid., p. 137-5-2-4.


Vajra-Pledge of All the Tathagatas


Part two of the Sanskrit STTS1 is divided into nine chapters (chs. 6-14) which subdivide into two groups, classified under two mandalas, the first of which (ch. 6-10)2 is the Trilokavijaya (the conquest of the three worlds) and the second (ch. 11-14-a)3 the Trilolcacab'a (the wheel of the three worlds). The former belongs to the Vajra-family, but the latter belongs to the external- Fq/ra-family. Both of which are predominated by wrathful Vajrapani. According to the Sanskrit STTS, the first mandala consists of five chapters. The first four chapters are entitled Trilokavijaya Mahdmandala (ch. 6), Krodhaguhya Mudramandala (ch. 7), Vajrakula Dharmajnanasamayamandala (ch. 8), and Vajrakula Karmamandala (ch. 9). The fifth

chapter (ch. 10) forms an epilogue of the Trilokavijaya, like the previous Vajradhdtu Mandala, containing the rites of two mandalas, i.e. Trilokavijaya Caturmudramandala and Vajrahumkara Mandala. The second mandala of four chapters are entitled Trilokacalcra Mahdmandala (ch. 11), Sarvavajrakula Vajramandala (ch. 12), Sarvavajrakula Dharmasamayamandala (ch. 13), and Sarvavajrakula Karmamandala (ch. 14-a). The last chapter also includes a section which forms an epilogue of the Trilokacakra (ch. 14-b). In summary, the Trilokavijaya Mandala consists of six mandalas classified into mahd~, dharani-, dharma-, karma-, caturmudrd- and ekamudra-mandalas, but the Trilokacakra Mandala consists of four mandalas classified into maha-, dharani-, dharma- and karma-mandalas. Donjaku argues that the four mandalas of the Trilokacabxi symbolise the four Maras conquered by the Buddha Sakyamuni

According to David Snellgrove, the main difference between the Trilokavijaya and the Trilokacakra Mandalas is that in the former, Vairocana is surrounded by the Mahabodhisattvas in fierce manifestations, and apart from their fierceness and variations in their names, the divinities correspond to those of the Vajradhdtu Mandala. However, in the latter, Vairocana is encircled by the Hindu divinities, whom he has forcefully converted, as recounted in the opening section of chapter 6


f S. part two, pp. 153-313, T. pp. 239-2-8-254-4-2, C2, pp. 369-3-1-399-1-2.

2. S. pp. 153-252, T. pp. 239-2-8-250-1-3, C2. pp. 369-3-1-389-1-13.

3. S. pp. 253-310, T. pp. 250-1-3-254-2-6, C2. pp. 389-1-14-398-3-2. 4 TSD. Vol. 61, No. 2225, pp. 155-3-21-156-1-9.


of the Sanskrit STTS.5 Although the Trilokavijaya Mandala consisting of six mandalas and the Trilokacakra Mandala consisting of four mandalas which excludes the caturmudramandala and the ekamiidrdmandala can be classified as different mandalas, the former is regarded as the main mandala and the latter is the subordinate mandala, because the former consists of six mandalas according to the order of the six mandalas of the Vajradhdtu (STTS, part one) and the other main mandalas (STTS, parts three and four). In addition, when the STTS explains the Trilokavijaya Mandala, it begins with an invocation of the Lord greeted with one hundred and eight names, but there is no additional invocation-ceremony employed for the Trilokacalcra Mandala.

5. David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, p. 39.


Chapter 6. Trilokavijaya Mahamandala


The Sanskrit term tri-loka (Tibetan ’jig-rten-gsum) literally meaning the three worlds consisting of heaven, earth and hell,6 relates to the term trai-dhdtuka (Tibetan khams-gsum) consisting of the kdma-dhatu (realm of desire), rupa-dhdtu (realm of form) and arupa-dhatu (realm of formless). Anandagarbha, therefore, explains tri-loka as beneath tire earth, on the earth and above the earth, and that to have sovereignty (vijaya) over this {tri-loka) requires the conquest of the three realms (Tibetan khams-gsum-rnam-par-rgyal-ba).1 However, according to the Mikkyo Jiten, the three worlds symbolise three fundamental poisons {tri-dosa), i.e. lust {raga), hatred (dvesa) and delusion {moha) causing the continual process of rebirths in the various realms.8 Furthermore, the subjugation of the three worlds (itri-loka-vijaya) symbolises the complete elimination of all lands of spiritual obstacles which arise in the mind of the sadhaka. Thus, in the STTS, the Trilokavijaya Mahdmandala which-focuses on the Wrathful Body of Vajrapani generated from Vairocana in order to conquer all evil beings is the means of eliminating spiritual obstacles and defilements.


7. Structural Analysis o f Chapter 6


(1) The first section of chapter 6 of the STTS starting with the words, “Then, the Lords, all the Tathagatas, again gathered together in a conclave, and invoked the Lord Great-Wheel-Ruler of all the Tathagatas9 with these one hundred and eight names”10 and ending with the words, “May you generate your own family”,11 provides an invocation-ceremony of all the Tathagatas. In this ceremony, all the Tathagatas gather together and salute the Lord Great-Wheel-Ruler of all the Tathagatas referring to wrathful Vajrapani (alias Trilokavijaya or Vajrahumkara) with one hundred and eight names. These names are mostly different from those of the invocation-ceremony of part one, but they are also divided into sixteen groups and represent the characteristics of the same sixteen Mahabodhisattvas.

(2) The next long section starting with the words, “Then, the Commander of all the Tathagatas Vajrapani”12 and ending with the words, “Those evil spirits fell into the

6. Sakyamitra comments that the rulers of hell are Satakratu (an epithet of Indra) and Visnu, the ruler of earth is Mahes vara, and the ruler of heaven is Brahma. {Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 280-1-1-2).


7. Tattvdloka, TTP. Vol. 71, No. 3333, p. 249-4-3-4.

8. Sawa Ryuken (ed.), Miklcyd Jiten, p. 182.

9. Tibetan reads: “the Lord Commander of all the Tathagatas, Great-WIieel-Ruler”. Chinese 2 reads: “the Bodhisattva Mahasattva Great-Wheel-Ruler Vajrapani”.

10. atha bhagavantah sarvatathagatdh punah samdjam agamya bhagavantam sarvatathdgatamahacalcravartinam anena namastasatenddhyesitavantah: S. p. 154-2-4, T. p. 239-2-8—3-1, C2. p. 369-3-7-8.

11. utpddaya Iculam svakam iti: S. p. 156-10-11, T. p. 239-4-6, C2. p. 370-1-21. 12. atha vajrapdnih sarvatathdgatddhipatih: S. p. 157-1, T. p. 239-4-6-7, C2. p. 370-1-22.


great ocean”,13 includes narratives about Vajrapani's subjugation and conversion of all the commanders and their consorts of the three worlds such as Mahesvara and Uma, and his destruction of all the other evil beings.

(3) The next section starting with the words, “Then, the Mahasattva14 Vajrapani once again said this to the Lord15”16 and ending with the words, “The soimd HE should be uttered for the one whose name is bestowed”,17 explains die detailed mandala-vit&s of the Trilokavijaya Mahdmandala. This section includes the names of the sixteen Mahabodhisattvas18 of the Trilokavijaya Mahdmandala. Each of them contains the word Izrodha (wrath), which is characterised as a wrathful appearance in the mandala.

(4) The next section starting witii the words, “Then, one should generate the 19knowledges”20 and ending with die words, “HUM HAM”,21 explains the mudrdknowledge of the Trilokavijaya Mahdmandala consisting of not only four kinds of meditative practices, but also a secret deity yoga, which suggests the means of attaining four goals, i.e. subjugation, attraction, destruction and pacification. (5) The next section starting with the words, “Then, one should teach the mudra knowledge of the essence of the pledge of the Trilokavijaya Mahdmandala”23 and ending with the words, “This is the 24rite of all the mudras” 25 describes the rites of binding the four mudras of the Trilokavijaya Mahdmandala.


(6) The final section starting with the words, “Now comes the mudrd-bond common to the Trilokavijaya Mahdmandala”26 and ending with the words, “One should accomplish all actions”,27 comprises three miscellaneous mudrd-rites of the


13. te cdpdyd mahasamudrepatita iti: S. p. 185-6~7, T. p. 243-4-4, C2. p. 375-3-23. Chinese 2 reads: “The places of those evil spirits were completely purified.”

14 Chinese 2 reads: “Lord Bodhisattva Mahasattva”.


15. Chinese 2 reads: “all the Tathagatas”.

16. atha vajrapanir mahabodhisattvah punar api bhagavantam etad avocat: S. p. 185-8—9, T. p. 243-4-4-5, C2. p. 375-3-24.

17. tato yasyayan ndma lairydt tasya he-sabdah prayolctavya iti: S. p. 197-7, T. p. 244-4-7-8, C2, p. 378-2-8.

ls. The names of the sixteen Mahabodhisattvas are manifested as the form of hrdaya:- Vajrasattvalcrodha, Vajrakrodhakarsana, Vajrakamakrodha, Vajratustikrodha; Vajrabhrkutikrodha, Vajrasuryakrodha, Vajrakrodhaketu, Vajrattahasakrodha; V aj radharmakro dha, Vajratiksnakrodha, Vajrahetukrodha, Vajrakrodhabhasa; and Vajrakarma (-krodha), Vajrakavacakrodha, Vajrayaksakrodha, Vajrakrodhamusti.


19. Chinese 2 inserts: “great”.

20. tato jnandny utpddayet: S. p. 197-8, T. p. 244-4-8, C2. p. 378-2-9.

21. S. p. 202-5, T. p. 245-2-3, C2. p. 379-2-8.

22. Chinese 2 inserts: “maha”.

23. tatas trilokavijayamahamandalasamayatattvamudrdjndnam siksayet: S. p. 202-6-7, T. p.

245-2-3, C2. p. 379-2-9.

24. Chinese inserts: “extensive”.

25. sarvamudrdvidhih: S. p. 206-6, T. p. 245-4-2, C2. p. 380-1-17.

26. athdtra trilokavijayamahdmandalasadharanamudrabandho bhavati: S. p. 207-1-2, T, p. 245-4-2-3, C2. p. 380-1-26.

27. sarvakarmani sadhayed iti: S. p. 210-11-12, T. p. 246-1-6-7, C2. p. 381-1-2.


Trilokavijaya Mahdmandala, i.e. firstly, the general mudrd-binding for accomplishing the various goals; secondly, the mudrd-bmdm% used for the mandala-constmction; and finally, the basic evocation-rite used for all the mudras of the Trilokavijaya Mahdmandala, which is explained by the STTS that when one assumes the pratydlidha posture, emits the wrathful words and displays wrath with wrathful vision, one should accomplish all actions.


2. Vajrapdni's Subjugation of Mahesvara


The STTS30 begins in the opening section of part two with a story about Vajrapani's subjugation of Mahesvara. Amoghavajra summarises this story in the following words

“Having attained complete enlightenment, the Tathagata (Vairocana) set in motion the wheel of the Vajradhdtu on the summit of Mount Sumeru, and conferred the names and the titles31 upon all the Bodhisattvas. The evil beings, such as Mahesvara, were too obstinate to be easily converted. Thus, through the propitiatory-rite (santika)31 they could not be converted. All the Tathagatas, who pervaded all space and were diffused in the Dharmadhatu, greeted Vajrasattva with the praises of one hundred and eight names, and pleaded with him in one voice, ‘All such kinds of deities cannot be converted by means of the propitiatory-rite.’ At that time, Vajrapani having accepted the request of all the Tathagatas, entered the compassionate-wrathvajra- samadhi (karuna-krodha-vajra-samadhi),33 Having manifested his great dignified body, he subdued (all these deities) with various expedients, and caused them to die. After Mahesvara died, he himself looked down, and arrived in the world called ‘Ash-Decoration (Bhasma-alankara)’ which was located across 28. praiydlxdhalertin krtva krodhavaca pravartaycin b'odhadrstya tu samlcruddhah sarvalcarmani sddhayed iti: S. p. 210-10~12, T. p. 246-1-6-7, C2. p. 381-1-1—2.


29. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 137-5-4-138-4-8.

30. S. pp. 157-169, T. pp. 239-4-6-241-4-7, 370-1-22-372-3-2.

31. To give a name and title to the pupil in the tantra means to initiate the pupil with the nameconsecration. According to the categories differing from the already mentioned Bodhisattva- Bhtimi (see footnote of part one), in the tenth Bodhisattva-ZJAumz, the Bodhisattva enters the Stage of Consecration (abhiseka-bhumi).

32. According to the MW (p. 1065), the term 'sdntika' literally means a propitiatory rite for averting evil. According to the DoC (p. 348), it is translated as ji-jm g-fa’ in Chinese, which means the ceremonies for restoring peace from calamity. This is one of the homa rites. See footnote of the introduction for the details of the homa rituals.

33. The ‘compassionate-wrath-vo/m’ is originally 'bei' (compassion)-‘md (wrath)-jin-gang' (vajra) in Chinese. The Chinese word 'beV literally means ‘compassion’, but the footnote of OEAVS says it may be identified with the word 'fen'’ meaning ‘wrath’ in this context. The second word ‘md also means ‘wrath’, and even the compound word lfen-nu' also means ‘wrath’. Thus, the footnote reads the compound as *wrath-vajra', instead of ‘compassionatewrath- vfl/ra’. However, according to the Sanskrit STTS text, the original title of the ‘kanma- Icrodha-vajra-samadhi’ is the ‘sarva-tathagata-mahd-lcaruna-updya-lzrodha-samaya-vajran nama samddhi'. (S. p. 157-19-158-1).


the worlds as numerous as the sand grains in the sixty-two Ganges rivers, and attained complete enlightenment. Then, he was named Tathagata Fear-Lord (Bhaya-isvara).34 The Bodhisattva Vajradhara, pressing (Mahesvara) with his leg, recited the vajraarising- mantra. As soon as (Mahesvara) was revived, he was already converted.”

According to the biographies of the Buddha Sakyamuni, such as the Mahavastu i and the Lalitavistara, the historical Buddha Sakyamuni was attacked by Mara (Evil One) known as die Lord of the world of passion, but finally defeated Mara just ; before his attaining complete enlightenment.36 Thus, the composer of the STTS, i influenced by the story of the Buddha Sakyamuni's victory over Mara, transforms it j into a story about Vajrapani's victory over Mahesvara,37 within the context of \ Tantric tradition. Part two of the STTS emphasises Vajrapani as the chief of yaksas because this part is introduced mainly for the purpose of subduing and converting the Hindu gods and evil beings. The main part of this story described in the STTS is translated into English by David Snellgrove38 and Ronald Davidson.39 The latter defines Mahesvara as follows

“The myth was interpreted as a model of internal realities, in line with the movement toward increasing inwardness during the period of Mantrayana development. In the way that Mara was interpreted as an extension of the Buddha's own death and suppressed psycho-physical tendencies, Mahesvara illustrates for the meditator that defilements, no matter how corrupt, are themselves the stuff of awakening. Liberation is impossible without prior bondage, purification inconceivable without

34. Regarding the above statement: “After Mahesvara died, he himself looked down, and arrived in the world called ‘Ash-Decoration (Bhasma-alarikara)’ which was located across the worlds as numerous as the sand grains in the sixty-two Ganges rivers, and he attained complete enlightenment. Then he was named Tathagata Fear-Lord (Bhaya-isvara)”, the Sanskrit STTS (S. p. 169), which is the equivalent part, reads: “After Mahadeva fell down at the base of the foot o f Vajrapani he crossed the world-spheres as numerous as the sand grains in the thirtytwo Ganges rivers and as numerous as the infinite dust particles in the uppermost worldsphere and, (having arrived) in the world-sphere called Bhasmacchatra (Umbrella of Ashes), he generated a Tathagata called Bhasmesvaranirghosa (Soundless Lord of Ashes)”. Thus, three slightly different points are found in comparing these two texts. Firstly, while the place which Mahesvara attained complete enlightenment is described in the OEAVS as ‘Ash- Decoration’, the Sanskrit STTS calls it ‘Umbrella of Ashes’. Secondly, the number of the Ganges rivers is sixty-two in the former, but thirty-two in the latter. Finally, the name of Mahesvara as the Tathagata in the OEAVS is ‘Fear-Lord’, compared to ‘Soundless Lord of Ashes’ in the STTS.

35. OEAVS, TSD. Vol. 18, No. 869, p. 285-1-15-26.

36. Edward Thomas, The Life o f Buddha as Legend and History, pp. 61—SO.

37. In this context Mahesvara indicates Siva the Hindu god of destruction. Thus, the subjugation o f Mahesvara can be symbolised as the conquest of death.

38. David Snellgrove, Sarva-Tathdgata-Tattva-Sahgraha, Introduction, pp. 39~42; Indo-Tibetan Buddhism, pp. 136-141.

39. For Ronald Davidson's translation and comment, see his article, pp. 547-555, in Religions o f India in Practice, ed. Donald S. Lopez Jr.


defilement. For those following the Path of Secret Spells, then, Mahesvara represents the reality of intractable mental events turning into the gnosis of awakening following their consecration, in this case by Vajrapani's foot. Without such determined resistance to the teaching, Mahesvara never would have achieved his mythic goal of final emancipation as the buddha Bhasmesvaranirghosa. Without intractable defilements, the meditator will never experience the supernormal cognition of the highest goal. Thus the circle of emancipation is closed: mind, meditator, and Mahesvara all come to rest in the universal diagram.”

According to the STTS,41 having conquered and converted the commanders and their consorts of all three worlds, such as Mahesvara and Uma, Vajrapani summoned and conquered the various kinds of evil beings, i.e. the formation of a circle of all evil beings (sarvadustamandalabandha), the evil spirits (dustagraha) such as Dakim, the diseases (vyddhi) such as Jvara (fever), and the multitude fallen into the three evil states (pyapdyagaticakra)42 such as Raurava (hell) and Maharaurava (hell).


3. External Vajra Family


The following quotation of the STTS lists the Buddhist names of the twenty-one Hindu gods and the same number of their consorts, which are divided into five groups according to the realm, i.e. the first group living in the upper-spheres of form and formless; the second group wandering in space; the third group living in space; the fourth group living on the earth; and the fifth group living beneath the earth. The purpose of introducing popular Hindu gods and goddesses in part two of the STTS is not only for the conversion of evil beings, but also for the conversion of those who practise other religions, especially the Hindu religion.

“Then, after Vajrapani induced (all the gods) to enter (the mandala) correctly, he duly revealed the entire mahd-mandala, and initiated them with the vq/ra-gem-consecrations. After he gave them the vajra-signs for their hands, he initiated them with the vq/ra-name-consecrations. Since all the Tathagatas acted , for the welfare of living beings, he established (the names). Then, there followed the performance for the commanders of all three worlds, for example, Mahesvara was named as Krodhavajra (Wrath-

Vajra), Narayana as Mayavajra (Illusion- Vajra), Sanakumara as Vajraghanta (Vajra-Bell), Brahmana as Maunavajra (Silence- Vajra), and Indra as Vajrayudha (Fq/ra-Weapon). Thus, these gods were initiated as Knowledge-Kings (vidya-rdjyaka). Then, he bestowed (the names) on the commanders of all the gods

40. Ibid., p. 549.

41. S. pp. 177-4-185-7, T. pp. 242-4-2-243-4-4, C2. pp. 374-1-19-375-3-23.

42. The three evil states are all obstructions (sarvdvcirana), hindrances (nivarana), and the obstructions resulting from past actions (Icarmavarana).


wandering in space, for example, Amrtakundala was named as Vajraknndali (Fq/ra-Ear-Ring), Indu as Vajraprabha (Vajra- Splendour), Mahadandagra as Vajradanda (Fq/'ra-Stick), and Pingala as Vajrapingala (Fq/ra-Treasure). Thus, these gods were initiated as Vci/ra-Wrathful-Beings (vajra-Itrodha). Then, he bestowed (the names) on the commanders of all the gods living in space, for example, Madhumatta was named as Vajrasaunda (Fq/ra-Liqueur), Madhukara as Vajramala (Fq/'ra-Garland), Jaya as Vajravasi ( Fq/'ra-Power), and Jayavaha as Vijayavajra (Conquest-Vajra). Thus, these gods were initiated as Company- Leaders (gana-pati). Then, he bestowed (the names) on the commanders of all the gods living on the earth, for example, Kosapala was named as Vajramusala (Fq/ra-Club), Vayava as Vajranila (Vajra-Wind), Agni as Vajranala (Vajra-Fire), and Kubera as Vajrabhairava (Fq/ra-Horror). Thus, these gods were initiated as Messengers (duta). Then, he bestowed (the names) on the commanders of all the gods living beneath the earth, for example, Varaha was named as VajrankuSa (Vajra-Hook), Yama as Vajrakala (Fq/'ra-Time), Prthivlculika as Vajravinayaka (Vajra- Remover), and Varuna as Nagavajra (Serpent-Vajra). Thus, these gods were initiated as Servants (cetaka).

Then, he (Vajrapani) initiated all the consorts of the commanders of the three worlds with the vq/ra-gem-consecration. After he empowered their own signs with the vajra, he initiated (them) with the vq/'ra-name-consecration. Since all the Tathagatas acted for the welfare of living beings, he established (the names), for example, the goddess Uma was named as Krodhavajragni43 (Wrath- Vajra- Fire), the goddess Rukmini as VajrasauvarnI (Fq/’ra-Gold), the goddess Sasthi as Vajrakaumari (Fq/ra-Maiden), the goddess Brahmani as Vajrasanti (Fq/ra-Tranquillity), and the goddess IndranI as Vajramusti (Fq/ra-Fist).

Thus, these goddesses were initiated as Vajra-Queens (vajra-rcijanikd). Then, he bestowed (the names) on all the consorts (of the commanders) wandering in space, for example, the goddess Amrta was named as Vajramrta (Fq/ra-Immortal), the goddess RohinI as Vajralcanti ( Vajra- Brightness), the goddess DandadharinI as Dandavajragra (Stick- Vajra-Best), and the goddess Jataharinl as Vajramekhala (Vajra- Belt). Thus, these goddesses were initiated as Fq/ra-Wrathful- Females (yajra-Icrodhini). Then, he bestowed (the names) on all the consorts (of the commanders) living in space, for example, the goddess Maranl was named as Vajravilaya (Fq/ra-Death), the goddess Asana as Vajrasana (Fq/'ra-Eating), the goddess Vasana as Vajravasana (Fq/ra-Passion), and the goddess Rah as Vajravasa (Fq/'ra-Desire). Thus, these goddesses were initiated as Courtesans (ganikd). Then, he bestowed (the names) on all the 43. Tibetan reads: “Krodhavajri ” (Tibetan khro-bo-rdo-rje-ma).


consorts (of the commanders) living on the earth, for example, the goddess Siva was named as Vajraduti (Fajru-Female-Messenger), the goddess Vayavi as Vegavajrini (Speed-Fayra-Holder), the goddess Agnedhrya as Vajrajvala (Fa/m-Illumination), and the goddess Kauberi as Vajravikata (Fq/ra-Dreadfulness). Thus, these goddesses were initiated as Vajra-Female-Messengers (vajraduti). Then, he bestowed (the names) on all the consorts (of the commanders) of living beneath the earth, (for example), the goddess Varahi was named as Vajramukhi (Fq/ra-Mouth), the goddess Camunda as Vajrakali (Fo/ra-Death), the goddess Chinnanasa as Vajraputana (Fa/ra-Disease), and the goddess Varum as Vajramakari (Vajra-Sea-Monster). Thus, these

goddesses were initiated as Fayra-Female-Servants (vajra-ceti).”

All of these deities constitute the external- Fh/m-family. According to the following mandala-section of the STTS, except for Mahesvara and Uma who are placed on the feet of Vajrahumkara at the centre of the eastern quarter of the mandala, all the other deities of the external-Fuyra-family occupy the external positions in the Trilokavijaya Mahdmandala. However, though in the Trilokacakra Mahdmandala (ch. 11) Mahesvara and Uma are still placed at the feet of Vajrahumkara and the twenty consorts occupy the external positions, the twenty gods replace the sixteen Mahabodhisattvas and the four Door-guardians, and occupy their positions. The Trilokavijaya-mandala at Alchi Monastery45 and the Trilokavijaya-mahamandala of The Ngor Collection46 both show that the above deities of die external- Vajrafamily occupy the external positions. The only difference is that in the former each deity has its own position, but in the latter all the gods and their consorts are drawn together as pairs. According to the Trilokavijayakarma Assembly of the Nine Assemblies Mandala41 Mahesvara and Uma are placed at the feet of Vajrapani at the east of Vajrahumkara, and the above twenty gods occupy the external positions, but only four mahd-devis occupy the four comers of the external positions.


4. Mandala Rites

a. Structure o f the Trilokavijaya Mahdmandala


The Trilokavijaya Mahdmandala has the same external structure and main thirtyseven deities corresponding to those of the Vajradhdtu Mahdmandala. The main difference between the two is that the Vajradhdtu Mahdmandala is revealed in order to generate the thought of enlightenment by Vajradhara or Vajrasattva, and all

44 S. pp. 172-173, T. pp. 241-5-7-242-2-5, C2. p. 373-1-7-2-25.

45. The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council of Religious Affairs o f His Holiness the Dalai Lama, pp. 213-214.

46. bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II, Kodansha Ltd., Kyoto, Japan, 1983.

41. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 972-988; Lokesh Chandra, Sarva- Tathdgata-Tattva-Saiigraha, Introduction, p. 47.


the deities have a compassionate appearance. However, the Trilokavijaya Mahdmandala is revealed by wrathful Vajrapani, and all the thirty-seven deities have wrathful bodily forms in order to conquer and control the major Hindu deities such as Mahesvara and Uma, called the external- Fq/ra-family. Sakyamitra comments that the Trilokavijaya Mahdmandala is regarded as the abhicaralai (destroying)-mandala because it is constructed for destroying those who resist conversion, and it also becomes the supreme oppressor due to its punishment.48 The STTS describes the structure of the Trilokavijaya Mahdmandala:- 4‘The supreme Mahdmandala (of the Vajra-family) has the basic design of the Vajradhdtu (.Mahdmandala) and is the supreme creator of universal fulfilment. It is called Trilokavijaya (Conquest of the Three Worlds)’, and it is generated from the vfl/ra-pledge.49 It produces Buddhahood, and destroys all evil. Thus, one should measure out die thread with the following mantra:-

4OM VAJRA SAMAYA SUTRAMMATIKRAMA. {Vajra-pledge, do not transgress the thread!)’ (This mandala) has its four comers embellished with four gates and four arched doorways, joined together with four lines and adorned with silk pennants and garlands. The external mandala should be drawn, in-laid with vajras and gems in all comers of the mandala and between the gates and doors.

Its internal part is adorned by the learned with vajras and gems, and has four comers, four gates, and eight pillars furnished with arched doorways.

The five mandalas are decorated on the edge of the vq/ra-pillars. Where the mandala has been measured out with a thread, it should be filled with 50colours.

Now follows this colouring5^recitation (rahga-jdpa):-

4OM VAJRA CITRA SAMAYA HUM:

Then having sat in the centre (of the mandala), the va/ra-master should concentrate his thought. Then he should open the four vo/ra-gates with his mind.


Now follows this mantra of opening the gate:-

'OM VAJRODGHATAYA SAMAYA PRAVE&AYA HtlM.'

One should set up an image of the Buddha (Vairocana) upon a four-cornered altar made of gold, silver, or variegated52 clay.53


48. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 286-5-7~8.

49. Anandagarbha comments that the words ‘vq/ra-pledge (vajra-samayaY mean that it is the vajra which Vajrapani holds in his hand, and the essence of the vajra is the cause of the pledge. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 249-3-7). Sakyamitra adds that this pledge (samaya) arises in consequence of taking possession of the attainment o f converting all evil beings. (Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 286-4-1).

50. Chinese 2 inserts: “five”.

51. Chinese 2 reads: “measuring”, instead of “colouring”. 146


Now follows this hrdaya of summoning all the Tathagatas


OM VAJRA JVALAGNI PRADlPTAKARSAYA SARVATATHAGATAm MAHA-VAJRA SAMAYA HUMJAHd


In the presence of the Buddha,55 one should place a vajra into the centre of the flame. In the same way,56 one should draw a gem, a lotus, and a crossed weapon in (every) centre of the flame. Having approached with the vayra-impulse (vajra-vega) before the Buddha in the same way, the learned should draw the mandala of Vajrahumkara according to the instruction.

Now follows this hrdaya of the vczyra-impulse:-

OM VAJRA VEGlKRAMA HUM. ’

Having trodden the thread in all die mandalas such as the Vajradhdtu and the others, one can go into all (the mandalas). Then, follows this mudra57:-

One should draw a line with the mind. Upon casting the vajrathread in or out (of the mandala), one should not transgress the pledge.

In the centre (of the first mandala), one should draw the Mahasattva Vajrapani who has the colour of the brilliant dark blue lotus, and is united with Vajrahumkara.

He has a face with dreadful prominent teeth, and also a smiling face together with a wrathful face.

He has a bowman's stance (pratyalidha) with his left foot forward and right drawn back, his splendour wrapped by the blazing garland.

The sole of his left foot should be drawn pressing Mahesvara and the sole of his right foot positioned on Uma's breast.59

Now follows this hrdaya60


52. Tibetan reads: “beautifully painted”.

53. Chinese 2 reads: “According to the rule, a square Buddha-image should be positioned correctly in conformity with the direction. The Budctha-throne made of gold, silver, or clay should be set up according to the instruction.” According to Sakyamitra, the words ‘altar made of gold, silver, or variegated clay’ mean that the altar of Vairocana can be constructed according to the financial resources of the benefactors o f the mandala. (.Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 286-5-5—6).

54. Tibetan reads: “SAP VA-TATHAGATANAiW\

55. Chinese 2 reads: “in the presence of the eastern part of the Buddha”.

56. Chinese 2 reads: “The flames of the south, the west and the north are the same as (the east).”

57. Chinese 2 reads: “the verses of the mwrfra-knowledge”.

58. Anandagarbha explains ‘being united with Vajrahumkara’ as referring to binding the Trilokavijaya-mudrd with both hands. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 252-5-3~4). 59. David Snellgrove argues that at the centre of the mandala is Vajrapani himself, treading on Mahesvara and Uma, and manifesting towards the four directions as Sattvavajra (= Vajrapani, east), Ratnavajra (= Vajragarbha, south), Dharmavajra (= Vajranetra, west) and Karmavajra (= Vajravisva, north). (David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p.

42). This view comes from a misunderstanding of the text, because, as seen in the above passage, Vajrapani who is treading on Mahesvara and Uma is positioned not in the centre of the whole mandala, but in the centre of the eastern quarter called the mandala of Vajrahumkara.


HUM:

Everywhere in his61 proximity, one should place (four) Vajrakrodhas who have prominent wrathful teeth, and whose splendour is enveloped by blazing garlands.

Having approached the second supreme mandala with the vajraimpulse, one should draw Vajrabhiseka (Fq/'ra-consecration) surrounded by (four) Krodhas.

Having approached the third supreme mandala with the vajraimpulse, one should draw Vajrasena {Vajra-army) surrounded by (four) wrathful Noble-Beings.

Having approached the fourth supreme mandala with the vajraimpulse, one should draw Vajravesa (Fq/ra-enchantment) surrounded by (four) Fq/ra-Wrath-Troops.

In accordance with the rite, one should draw (four) Secret- Offerings in the comers of the mandala in conformity with the Vajradhdtu {Mahdmandala),

Having approached the supreme external mandala with the vajraimpulse, in its comers, one should position four Offering- Goddesses.

Ankusa and the others should be positioned in the centre of four gates, and the external Fq/ra-families (should be drawn) in their positions in the external mandala


Like the Vajradhdtu Mahdmandala, this mandala consists of three parts, i.e. the external square having four gates, the internal square having four gates, and the centre circle. The centre circle is divided into five lunar discs, i.e. Vairocana-, Vajrahumkara-, Ratnahunikara-, Dharmahumkara- and Karmahumkara-tfia^q'a/a.y. The Vairocana-mandala consists of white-coloured Vairocana and his four Paramitas. Vairocana or Buddhahumkara, which is cast or made in any other way, positioned at the centre as usual and surrounded by the symbols of the four Paramitas, called the Vajra-samaya-mudrds here, which are positioned clockwise starting Rom the east, and each of which is placed in the centre of the flame symbolising the wrath. However, in the Trilokavijayakarma Assembly of the Nine Assemblies Mandala,63 these four Paramitas are manifested not as their symbols, but as bodily forms.

The Vajrahumkara-, Ratnahumkara-, Dharmahumkara- and Karmahumkaramandalas correspond to the four Tathzig&t&s-mandalas of the Vajradhdtu Mahdmandala. The Vajrahrnnkara-zwaq^a/tz positioned to the east of Vairocana-


60. Chinese 2 reads: “the fundamental hrdaya

6!. Chinese 2 reads: “Vajrapani”.

62. S. pp. 186-10-194, T. pp.’243-5-2-244-3-3, C2. pp. 376-1-14-377-3-22.

63. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 972-988; Lokesh Chandra, Sarva- Tathagata-Tattva-Sangraha, Introduction, p. 47.


mandala consists of blue-coloured Vajrahumkara64 (or wrathful Vajrapani) who is treading on Mahesvara and Uma, and his surrounding four wrathfiil Mahabodhisattvas; the Ratnahumkara-maw^/fl consists of yellow-coloured Ratnahumkara (or Vajrabhiseka) who has received the consecration of the Vajrafamily in die place of Ratnasambhava, and his surrounding four wrathful Mahabodhisattvas; the Dharmahumkara-maw<fc/<z consists of red-coloured Dharmahumkara (or Vajrasena) who has the bodily form of a maiden in the place of Amitabha, and his surrounding four wrathful Mahabodhisattvas; the Karmahunikara-man(/nk consists of green-coloured Karmahumkara (or Vajravesa) who is endowed with the form of Vajrakarma in the place of Amoghasiddhi, and his surrounding four wrathful Mahabodhisattvas.

Like the Vajradhdtu Mahdmandala, four Internal Offerings are positioned at the four comers of the centre circle; four Door-guardians are positioned at both the_ four gates of die internal square and the four gates of the external square; and four External Offerings are positioned at the four comers of the external square. In addition, all the deities of the external- Fq/’ra-family, which has already explained, are positioned outside the external square.

The above description of the STTS, especially Vajrahumkara's image as wrathful Vajrapani treading on Mahesvara and Uma at the centre of the Vajrahumkaramandala, is supported by both Tibetan mandalas, i.e. the Trilokavijaya-mandala at Alchi Monastery66 and the Trilokavijaya-mahdmandala of The Ngor Collection.

However, differing from the STTS, the Trilokavijayakarma Assembly of the Nine Assemblies Mandala68 shows that the wrathful Tathagata Aksobhya is drawn at the 64. According to the Mikltyo Jiten, there are three kinds of bodily forms of Vajrahumkara. The first form of Vajrahumkara has four faces and eight arms. His body is black. His front face is blue, his right face is yellow, his left face is green, and his rear face is red. All his faces have wrathful appearances. His first two hands are crossed and form a mudrd. His remaining three right hands hold a five-pronged vajra, an arrow and a sword respectively. His remaining three left hands hold a five-pronged hook, a bow and a noose respectively. The sole o f his left foot presses the crown of Mahesvara, and the sole of his right foot presses both breasts of Uma. The whole body of Vajrahumkara is wrapped in flames. The second form of Vajrahumkara has three faces and eight arms. He wears a skull upon his top-knot which is raised and turned in the shape resembling flames. His body is dark grey. Each of his three faces has three eyes. The characteristics of his eight arms and his two feet are the same as the first form. The third form of Vajrahumkara has one face and four arms. His body is dark blue. He stands over a half moon, and has a wrathful appearance with three eyes and four teeth. He has a moving posture by bending forward his left foot. His first two hands are crossed and form a mudrd. His second left hand holds a vcyra-hook, and his second right hand holds a five-pronged vajra. He wears a crown of the five wisdoms, and is wrapped in flames. (Sawa Ryuken (ed.), Mikityo Jiten, pp. 181-182).

65. Tattvdloka, TTP. Vol. 71, No. 3333, p. 253-1-1-3.

66. The World o f Tibetan Buddhism, photographs by Fujita Hiroki and supervision by Council of Religious Affairs o f His Holiness the Dalai Lama, pp. 213-214.

61. bSod nams rgya mtsho: Tibetan Mandalas (The Ngor Collection), Vol. I & II, Kodansha Ltd., Kyoto, Japan, 1983.

6S. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 972-988; Lokesh Chandra, Sarva- Tathdgata-Tattva-Sangraha, Introduction, p. 47.


centre of the Vajrahumkara-mandala, and the image of wrathful Vajrapani treading on Mahesvara and Uma is placed at the east of Aksobhya. In addition, though there is no mention of Bhadrctkalpa Mahabodhisattvas in the above quotation, this mandala also contains the images of the sixteen Bhadrakalpa Mahabodhisattvas.


b. Entry into the Mandala


“(a) In the beginning, as soon as the vajra-master binds tlie terintiri69-mudra of Vajrakrodha by himself, he should enter (the mandala drawn in his mind). Having entered, he should declare to all the Tathagatas: ‘O Lord Tathagatas! I will enter into the wrathful power. I will suppress those who should be suppressed, and I will assemble those who should be assembled. O Lords! Command me as to what I should do.’ Having said thus, he should establish correctly the terintirP°-mudra of Vajrakrodha upon his heart.71 Having executed the rituals with Vajrankusa and the rest, he should bind all the samaya-mudras again. Then everything comes into his proximity.72 Then, he executed die four secret-offerings with (Vajra-) Dhupa and the rest. Then, having induced his vajra-pupil to enter (the mandala) with this rite, the vq/ra-master himself should bind the terintiri73-mudrd of Vajrakrodha, and induce his pupil to bind it while (reciting) the following hr day a:-

‘OM GRHNA VAJRA SAMAYA HUM VAM. (Hold the Vajrapledge!)’

(b) Then, (the pupil) wearing a blue upper-garment and a blue turban fastened on his head, having covered his face with a blue silk, should enter (the mandala) while (reciting) the following mantra

‘OM VAJRA SAMAYAM PRAVI&AMI.74 (I enter into the Vajrapledge.)’

Then, having entered, he should generate (in samadhi) the state of {vajra-) possession with the samaya-mudrd of Vajravesa while (reciting) the following hr day a:-

751 va jra ve Sa a i t .

69. Tibetan reads: “tirintari”.

70. Tibetan reads: “tiridtiri”.

71. According to Sakyamitra and Anandagarbha {Kosalalamkara, TTP. Vol. 70, No. 3326, p. 287-4-6-7; Tattvaloka, TTP. Vol. 71, No. 3333, p. 255-4-5-6), when the vayra-master places the mudrd, which has already been bound, in his heart, he should recite the following mantras explained in the Vajradhatu Mahamandala:

“TISTHA VAJRA DRDHO ME BHAVA &ASVATO ME BHAVA HRDAYAM ME ' 'DHITISTHA SARVA-SIDDHIN CA ME PRAYACCHA HUM HA HA HA HA HOH.

{Vajra, stand up! Make me steadfast! Make me perpetual! Empower my heart! Bestow all attainments upon me!).” (S. p. 70-15-19, T. p.

230-3-6-7, C2. p. 354-1-14-17).

72. Chinese 2 reads: “Then he obtains the empowerment (adhisthita) of all the Tathagatas.”

73. Tibetan reads: “tirinteri


74. Tibetan reads: ‘BRA VESA ME”.

75. Tibetan and Chinese 2 both insert: “OM”.


Then, he takes possession of (vajra). Due to his possession, he is empowered by all the Tathagatas. At that moment, he knows everything about the past, present and future. He is inviolable and unassailable from all living beings.76 By means of (pronouncing) the HUM sound,77 he tames, obliges, and comforts all living beings. 7 8 Vajrapani always guides him to accomplish all the rituals. Next, he should receive the vovs-hrdaya. After that, having removed the face-cover (of the pupil), (the va/ra-master) shows him the (Trilolcavijaya) 19Mahamandala. As soon as he sees the mandala, he gets rid of all evil and is able to conquer all the three worlds. By means of (pronouncing) the HUM sound,80 he summons, draws in, binds, subjugates, and rules all the deities such as Mahadeva. Due to the empowerment of all the Tathagatas, the Mahabodhisattva81 Vajrapani always follows and bestows his own attainments (on the pupil). Then, having executed this vajraconsecration, (the vq/'ra-master) should correctly deposit his own sharp vq/A/-emblem82 into (the pupil's) hands while (reciting) the following mantra:-


  • OM VAJRAPANI VAJRA-KARMA-KARO BHAVA.

(Vajrapani, become the Fq/ra-action-performer!) ’ Then, (the vq/ra-master) should confer (upon the pupil) the vajraname- consecration while (reciting) the following mantra:-


‘DM83 VAJRA KRODHA TVAM ABHISIMCAMI VAJRANAMABHISEKATAH HE-VAJRA NAM

A. (Vajrakrodha, I confer upon you the Fq/ra-name-consecration, namely, He-vajra.y Then, the sound HE should be uttered for the one whose name is bestowed.”


76. Chinese 2 reads: “He is inviolable from the evils and is invisible by the others.”

77. Chinese 2 reads: “in union with Trilokavijaya (Vajrahumkara)”.

According to ^akyamitra there are the four kinds of HUM sound (HUM-kara). The first is Buddha-Ht)M-kdra, which is the Lord Buddha's HUM, and is used for the purpose of transforming the Sattvas of mandalas. The second is HUM-Jcara, which is the mantra o f the four HUM (sounds), and is used for the purpose of attracting, drawing in, binding and subduing all the Tathagatas. The third is Vajra-HUM-kdra, which is the supporter of the hrdaya of the victory over desire (Icama), and is used for the purpose of summoning and positioning the commander of all three worlds, and his retinue inside the mandala. The fourth is Ddmaka, which is the HUM-kara of inflicting pain on the commander o f all three worlds, and is used for the purpose of converting all the commanders of the universe. (Kosalalamkara, TTP, Vol. 70, No. 3326, p. 277-4-2-6). These four kinds of HUM-kdra appear among one hundred and eight names of the invocation-ceremony of part two of the


STTS. (S. p. 156-1, T. p. 239-4-3, C2. p. 370-1-12).

78. Chinese 2 inserts: “Bodhisattva Mahasattva”.

79. Chinese 2 inserts: “entire”.

80. Chinese 2 reads: “in union with Trilokavijaya (Vajrahumkara)”.

81. Tibetan reads: “Lord Bodhisattva”. Chinese 2 reads: “Bodhisattva Mahasattva” . 82. Tibetan reads: “vq/'ra-sharpness as his emblem”. Chinese 2 reads: “vq/'ra-sword”, instead of “sharp vq/ra-emblem”.

83. Tibetan omits: “OM”.

84 S. pp. 195-3-197-7, T. p. 244-3-4-4-8, C2. pp. 377-3-24-378-2-8.


Paragraph (a) describes the vq/'ra-master's activities. The basic procedure of the rites of entry into this mandala follows the rite described in the Vajradhdtu Mahamandala. However, in this rite the vq/ra-master begins with binding the terintiri-mudrd85 of Vajrakrodha not with binding the mudrd of Sattvavajri. The terintiri-mudrd is the mudrd of making infinite mutual relationships between the sddhaka and Vajralcrodhas such as Vajrahumkara. This mudrd is employed for assembling the entire Fq/ra-family.86 The STTS defines the terintiri-mudra:- 4‘Having formed the vajra-bond by making the palms of both hands equal, one should protect it by producing a wrathful thought, and erect both thumbs firmly like a vajra. This is the wrathful terintiri-mudrd.”


Differing from the function of the mudrd of Sattvavajri described in the Vajradhdtu Mahamandala which guides the pupil to generate the thought of enlightenment, the terintiri-mudrd of Vajrakrodha described in this mandala guides the pupil to generate the thought of wrath, by which the pupil can conquer and purify all evils. Paragraph (b) describes the pupil's activities, whose basic procedure is also established and simplified on the basis of the corresponding rite of the Vajradhdtu Mahamandala. It is noticeable that in the Vajradhdtu Mahamandala, the pupil wears a red upper-garment and covers his face with a red bandage, but in this mandala, he wears a blue upper-garment and covers his face with a blue bandage. The ultimate result attained by the pupil through entering this mandala is the destruction of all evil and victory over tire three worlds.


5. Mudra Rites

a. Mudra-Knowledge


The attainment-knowledge, called wwc/ra-knowledge, of the Trilokavijaya Mahamandala consists of five rites, i.e. the rite of generating the four Humkaras, the rite of summoning deities (devadydkarsanamudrdjnana), the rite of performing the four mudrds of Vajrahumkara (caturvidhamudrdjndna), the rite of sealing all living beings (sarvasattvamudranamudrajndna), and a secret rite. As a result of performing these rites, the sddhaka gains the powers of the deity and accomplishes four goals, i.e. subjugation, attraction, destruction and pacification.

a-1. Jnana

85. The commentaries of Sakyamitra and Anandagarbha read: “tirintiri-mudrd".

86. Tattvdloka, TTP. Vol. 71, No. 3333, p. 255-3-4-5.

87. S. p. 222-7-8, T. p. 247-1-8, C2. p. 383-1-20-21.

This translation is based upon Danapala's Chinese version. The same sentence appears in the Sarvadurgatiparisodhana Tantra. (Tadeusz Skorupski, Sarvadurgatiparisodhana Tantra, p. 11).


“While meditating on Vajrakrodha, if one thinks of a vo/ra-image possessing the assemblage of flames on the heart, one can take possession of the entire world. In the same way, while meditating on Vajrakrodha, if one thinks of a vajra-gem on the forehead, one can subdue all living beings. While meditating on Vajrakrodha, if one thinks of a vajra-lotiis possessing the assemblage of blazing garlands on the neck, one can destroy all living beings.

While meditating on Vajrakrodha, if one thinks of an universal vajra88 (a crossed vajra) possessing the assemblage of flame on the crown of the head, one can protect this entire world.”89 The original title of this rite seems missing. This rite explains the sadhaka's generation of wrathful thoughts and his four meditations on die four families, i.e. Vajra, Ratna, Padma and Karma, located in the four places of his body, i.e. heart, forehead, neck and crown. Anandagarbha regards the words ‘meditating on Vajrakrodha’ (Vzjrakxodhci-samdpatti) as executing the deity-yogm of die four Humkaras, i.e. Vajrahumkara, Ratnahumkara, Dharmahumkara and Karmahumkara respectively. Thus, by means of meditating on the four Humkaras, the sddhaka generates four Humkaras in his mind and gains their powers.


a-2. Devddyakarsanamudrdjhdna


“If one draws Vajrankusa on the palm (of one's right hand), and shakes die forefinger (of the right hand) known as Humkara91 with wrathful (thought), (this becomes) the supreme summoning of (all) gods.

If one draws Vajrankusa at the centre of the sole of one's foot, and presses the reflected image (lingo) (of any deity) with it, one can surely summon (all) gods.

If one draws Vajrankusa on one's erected penis (medhra)92 and shakes it, one can summon all goddesses such as Uma, If one draws Vajrankusa in the intestine,93 and presses any god with it, (this becomes) the supreme summoning (of all gods).”94 This rite explains the four methods of summoning all the deities of the extemal- Fh/'ra-family by means of wrathful Vajrankusa who is generated from pronouncing the HUM sound and has the characteristic of attracting deities. The first segment describes the method of summoning deities by forming the hand gesture of


88. Sanskrit reads: “being-vq/ra”.

89. S. p. 197-9-16, T. p. 244-4-8-5-2, C2. p. 378-2-10-17.

90 Tattvdloka, TTP. Vol. 71, No. 3333, p. 259-3-2-5. 91. Tibetan reads: “binding (the mudrd of) Humkara”.

92. Tibetan reads: “if one duly makes the Vajranku^a's own mudrd, and then places and shakes it”.

93. Tibetan reads: “forefinger ('dzuh-mo)”, but Tattvdloka (TTP. Vol. 71, No. 3333, p. 259-5-3) and Kosalalamkara (TTP. Vol. 70, No. 3326, p. 288-4-3) both read it as “hind part of the body (m jugj\

94 S. p. 198-7-14, T. p. 244-5-4-6, C2. p. 378-2-24-3-2.


Vajrankusa, i.e. making a hook with the forefinger of the right hand. The second segment describes the method of forming the image of Vajrankusa pressing a deity like Vajrahumkara who likewise presses Mahesvara and TJma with its feet in the mandala. In the third segment, the Tibetan translation reads the term 1 medhra" as ‘mudrd", and the Chinese translation reads it as 7inga". As Sakyamitra makes clear, this third method is based on the concept that all goddesses are endowed with passion.95 According to Anandagarbha96 in the sddhaka's doity-yoga the sadhaka's visualised deity and a goddess such as Uma are united together. The fourth segment is also explained by Anandagarbha whereby the sddhaka generates Vajrankusa in the secret part of the body using the word ‘HUM", and presses the reflected image of any deity with it.


a-3. Caturvidhamudrdjndna


“If one assumes the pratyalidha9* posture and (pronounces) once (Vajra-) Humkara in a state of the va/ra-possession (vajra-dvesa), one can instantly take possession of the entire world. If one utters correctly with va/Va-melody the hrdaya of all the Buddhas99 possessing the four HUM sounds, one can certainly attract all (living beings).

If one (visualises) the supreme vision of Vajrakrodha while meditating upon Vajrakrodha, one can destroy the entire world in union with Vajrahumkara.

If one puts armour on one's own body or on another's by means of one's mind, one can protect this entire world by means of the yoga of the great armour.”

This rite explains the means of attaining the powers of Vajrahumkara by means of performing the four mudras of Vajrahumkara, i.e. body-mudrd (or maha-mudrd), speech -mudrd, vision-mudrd and mind-mudrd.101 The first segment refers to the sadhaka's visualising himself as the bodily image of Vajrahumkara in the pratyalidha posture wrapped in flames. The second segment refers to the sadhaka's transforming the visualised Vajrahumkara of four faces and eight arms into himself, while pronouncing the four HUM sounds.102 In this segment, the hrdaya of all the


95. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 288-4-2-3.

96. Tattvaloka, TTP. Vol. 71, No. 3333, p. 259-5-1-3.

97. Ibid., p. 259-5-3-5.

98. According to the MIT, the Sanskrit word ‘pratyalidha’ indicates the posture of shooting, that is, the left foot advanced and right drawn back. Sakyamitra explains it as meaning that the left leg is stretched towards the left side and the right leg is drawn in from the right side. (Kosalalamkara, TTP. Vol. 70, No. 3326, p. 288-4-6-7).

" . Chinese 2 translates the Sanskrit “hrdaya” as “mind”, so it reads: “One should conceive of the Lords, all the Buddhas in one's mind.”

100 S. p. 199-8-15, T. pp. 244-5-8-245-1-2, C2. p. 378-3-14-21.

101. Tattvaloka, TTP. Vol. 71, No. 3333, p. 259-5-5; Kosalalamkara, TTP. Vol. 70, No. 3326, p. 288-4-5.

102 Tattvaloka, TTP. Vol. 71, No. 3333, p. 260-1-2-6.


Buddhas possessing die four HUM sounds refers to the supreme vidya recited by

Vairocana, i.e. “OM SUMBHA NISUMBHA HUM, GRHNA GRHNA HUM, GRHNAPAYA HUM, AV4K4 HO BHAGAVAN VAJRA HUM P H A T 103 which

has four //O M soimds. The third segment focuses on the wrathful eyes of Vajrahumkara having the fimction of destruction. The words “meditating upon Vajrakrodha” in diis context refer to the deity -yoga of Vajrahumkara. Danapala translates the words ‘one can destroy the entire world’ as ‘one can destroy all evils in the world’,104 This interpretation is possible because the part two of the STTS focuses on the various methods of subduing all evil beings. The fourth segment can be interpreted as the sddhaka when visualising himself as Vajrahumkara has the function of Vajrakavaca (alias Vajraraksa), protecting all living beings.


a-4. Sarvasattvamudranamudrdjhana


“If one can embrace any (deity) while meditating upon Vajrakrodha, one can seal that one by means of muttering: “Vajrahumkara”.

One should clearly utter: ‘TTAKKI HUM PHAT with (one's) great voice. As soon as one utters this to any (deity) with wrathful (thought), one can kill that one by the blazing vajra. If one can behold any (deity) with the vajra- vision in the samddhi of Vajrakrodha, one will seal that one's death. While thinking in the mind: “I wish to kill (evil deities).”, if one can visualise a vajra105 at (one's) heart, one can seal oneself with HUM-kara in the presence of all.

If one seals any being with one's mind, one can accomplish all the wished for actions with these (four) mudras.”106 This rite consists of five segments instead of the usual four segments. In this rite, the sddhaka visualises Vajrahumkara as himself, and unites with his chosen deity. The first four segments correspond to the four mudras, i.e. body-mudrd (or mahamudrd), speech-mwfifra, vision-mudrd and mind-mudrd respectively, and the fifth segment refers to the conclusion of this rite.107 According to Anandagarbha, this fifth segment indicates the mudrd of sealing the body projected by the samddhi of the four mudras.10*

103. S. p. 159-6-10, T. p. 240-1-6-7, C2. p. 370-2-29-3-2. Toganoo Shoun (Mandara no kenlcyu, pp. 335-337) argues that the above mantra is closely related to the Hindu Purana literature which includes a story of two brothers, i.e. Sumbha andNisumbha, defeated by the consort of Siva, Parvati. Toganoo's views are translated into English by Adrian Snodgrass. (The Matrix and Diamond World Mandalas in Shingon Buddhism, pp. 723-725).


104 TSD. Vol. 18, No. 882, pp. 378-3-19.

105. According to Sakyamitra, a vajra in this context indicates a crossed vajra. (Kosalalamkara,

TTP. Vol. 70, No. 3326, p. 289-3-8).

106. S. p. 200-9-18, T. p. 245-1-4-7, C2. p. 379-1-7-16.

107. Kosalalamkara, TTP. Vol. 70, No. 3326, pp. 288-5-8-289-4-8.

108. Tattvaloka, TTP. Vol. 71, No. 3333, p. 260-5-2-3.


a-5. Secret Rite


“Joining with any (deity) while pronouncing the HUM sound and practising the samapatti of unifying the two organs109 (between one and the deity), if one embraces (the body of deity) with (one's) whole body, one can deprive this (deity) of life. Joining with any (deity) while pronouncing the HUM sound and practising the samapatti of unifying the two organs, if one seizes (the deity's) lip with (one's) teeth and kisses it, one can turn this (deity's) face towards (oneself).

Joining with any (deity) while pronouncing the HUM sound and practising the samapatti of unifying the two organs, if one experiences pleasure, one can inflict suffering upon this (deity). Joining with any (deity) while pronouncing the HUM sound and practising the samapatti of unifying the two organs, if one presses (the body of deity) with (one's) whole body, one can protect this (deity's) whole body.”

This secret rite, entitled ‘rahasya-krodha-mudrd-jhana ’, refers to the means of subjugating, attracting, destroying and protecting the sadhaka's chosen deity by means of the deity-yoga. This deity -yoga consists of four meditational methods performed together while pronouncing the HUM sound as well as practising the samapatti of unifying the two organs (<dvayendriyasamdpatti)m which refers to the perfect union between his mentally projected body and his chosen deity's female body.


b. Rites of the Four Mudras


b-1. Mahdmudrd Rite


The mahdmudra section of the Trilokavijaya Mahamandala is divided into two parts, i.e. the ways of binding the mahdmudrds and the benefits acquired as the result. The STTS in this section explains the mahdmudrd of the Buddha Vairocana, the mahdmudrd of Vajrahumkara, and the mahdmudrd commonly applied to the other deities. Firstly, the method of practising the mahdmudrd of Vairocana is that if one can recollect the Buddha by means of the Vajradhdtu for the welfare of living beings, one can attain Buddhahood. This method employs the five abhisambodhis explained in die Vajradhdtu Mahamandala. Thus, if die sddhaka visualises the image of Vairocana while practising die five abhisambodhis, he can attain enlightenment. Secondly, the method of practising the mahdmudrd of Vajrahumkara is for the sddhaka to imagine the wradifid image of Vajrahumkara heading on Mahesvara and Uma. Thus, the STTS explains that while drawing and 109. Chinese 2 reads: “union of a lotus and a vajra”.


uo. S. p. 201-9-16, T. p. 245-1-8-2-2, C2. p. 379-1-24-2-3.

1!1. The samapatti of unifying the two organs (dvayendriyasamdpatti) has already appeared in the secret rites of the previous chapters 3 and 4.

112 S. pp. 202-6-203, T. p. 245-2-3-3-2, C2. p. 379-2-9-3-2.


pressing Mahesvara and Uma on the earth, if one can bind the Sattva-mudrd, which denotes in this context visualising the image of Vajrahumkara, one can instantly experience the transformation into the Trilokavijaya Vajrahumkara. Finally, the method of practising the mahdmudrd commonly applied to the other deities is that while abiding at the centre of the blazing circle of the Trilokavijaya Mahamandala and drawing in one's mind the wrathful image of one's chosen deity, one should bind the Sattva-mudrd with the vajras of body, speech and mind, which denotes generating the pride (Tibetan nga-rgyal) of the deity with the mind, while assuming the bodily form of the deity drawn in the mandala with the body and reciting the mantra of the deity.113 The STTS in this section explains the benefits gained by means of binding the mahdmudrds of Vairocana, the four Humkaras and sixteen wrathful Mahabodhisattvas. For example, the benefit of the mahdmudrd of Vajrahumkara is that the sddhaka becomes identical to Vajrahumkara (or Trilokavijaya) and gains all the attributes of Vajrahumkara.


b-2. Samayamudra Rite


The samayamudra of the Trilokavijaya Mahamandala is generated from two vajras referring to two fists, which is called wrath-bond (lcrodha-bandha).n 4 A samayamudra commonly applied to Vairocana and the four Humkaras, for instance, is explained by the STTS that if one makes a vajra with (two) arms (which denotes making two fists and crossing the wrists at the heart like a crossed vajra), and bends the two little fingers like (two) hooks, and then stretches out the two forefingers, (this is) called (the mudrd of) Trilokavijaya.115 This hand gesture (mudrd) is also found in the first two hands of Vajrapani drawn in the Trilokavijayakarma Assembly of the Nine Assemblies Mandala-116


b-3. Dharmamudra Rite


The dharmamudra section117 of the Trilokavijaya Mahamandala enumerates only blja-mantras (seed-syllables) of Vairocana, the four Humkaras and sixteen wrathful Mahabodhisattvas. For example, the HUM118-sound is used for summoning both the Buddha (Vairocana) and Vajra (-humkara); the TRAIT19 - sound is used for Vajragarbha (or Ratnahumkara); the HRIH120-sound is used for Vajrasena (or Dharmahumkara); and the /t/f 121-sound is used for Vajravisva (or Karmahumkara). Thus, it can be understood that the dharmamudra of


113. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 290-3-5~6.

114. Tattvaloka, TTP. Vol. 71, No. 3333, p. 262-4-4-7.

115. S. p. 204-4-5, T. p. 245-3-3-4, C2. p. 379-3-6-7.

116. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 973.

117. S. p. 205, T. p. 245-3-7-4-1, C2. pp. 379-3-20-380-1-11.

118. Sanskrit reads: “HUM”.

119. Tibetan reads: “TRAM”.

120. Tibetan reads: “H RIH \

121. Tibetan reads: “A ”.


Vajrahumkara, for example, is accomplished by the sddhaka visualising a white five-pronged vajra on the tongue and reciting the letter “H U M \ though the STTS in this section does not explain the methods of perfecting the dharmamudras of the deities of the Trilokavijaya Mahamandala.


b-4. Karmamudra Rite


The STTS explains a characteristic of the karmamudra of the Trilokavijaya Mahamandala: -

“The karmamudras of the great kh/ra-family are epitomised by forming the wrath-fist (krodha-musti) into two and performing (the rite of) the vajra-pride (vajra-garva) and others.”

All the karmamudras of the Trilokavijaya Mahamandala are generated from the two separate wrath-fists. The vq/ra-pride refers to the rite of evoking Vajrasattva explained in the Vajradhdtu Mahamandala. Thus, the sddhaka makes- the karmamudra of his deity from the beginning by forming the two wrath-fists, while evoking his deity in conformity with the rite of the Vajradhdtu Mahamandala.


6. Conclusion


One further contribution of the STTS to Tantric Buddhism is in this chapter (chapter 6) which includes two important features, i.e. Vajrapani's subjugation of Mahesvara and his initiation of Hindu deities. Vajrapani's subjugation of Mahesvara which was motivated by the story of the Buddha Sakyamuni's victory over Mara symbolises the complete conquest of all lands of suffering and even death. In addition, the Buddhist initiation of Hindu deities including Mahesvara and Uma symbolises the assimilation of Hindus.

The Trilokavijaya Mahamandala represented by the wrathful images of the thirty-seven deities guides the sddhaka to generate the wrathful thought in the mind and to conquer all evil beings symbolising spiritual obstacles and defilements. Thus, by means of evoking and imitating the wrathful deities, especially Vajrahumkara treading on Mahesvara and Uma, the sddhaka accomplishes subjugation, attraction, destruction and pacification.


122 S. p. 206-2-3, T. p. 245-4-1-2, C2. p. 380-1-13-14.


Chapter 7. Krodhaguhya Mudramandala


Chapter 7 of the STTS123 provides an exposition of the Krodhaguhya Mudramandala (alias Vajrasamaya Guhyamandala or Vajrakula Guhyamandala) which is classified as the dhdrani-mandala and constitutes the supreme samayamudrd. This mandala focuses on the Wrathful Mind of Vajrapani. This mandala also contains the main thirty-seven deities, but the images of the deities drawn in the Trilokavijaya Mahamandala are replaced by their symbols in this mandala, as in the case of the Vajraguhya Vajramandala (ch. 2). As Amoghavajra points out this mandala involves various sounds, vo/ra-songs and vajra-dances,124 for the rite of entry into this mandala involves sixteen dance-offerings which are divided into four groups, i.e. nrtya (dance), prati-nrtya (counter-dance), upa-nrtya (subordinatedance) and jnana-nrtya (knowledge-dance), which are closely related to the symbols and functions of the sixteen Mahabodhisattvas125 of this mandala. The attainment-knowledge of this mandala explains the four methods of subduing deities by means of practising deity -yoga.


1. Structural Analysis of Chapter 7


(1) The first section of chapter 7 of die STTS starting with the words, “Then, the Lord”126 and ending with the words, “77/77”,127 provides an exposition of the second samddhi called the supreme mandala-king of the Krodhaguhya Mudramandala. This section contains only the samadhi of Vairocana, which displays some characteristics of this mandala, and the names of the other deities appear in the following mandala-rite section.


(2) The next section starting with the words, “Then, Vajrapani once again”128 and ending with the words, “BANDITA VAJRA” j 19 explains the mandala-rites of the Krodhaguhya Mudramandala. This section is divided into two parts, i.e. the rite of the mandala-construction including the deities' names in the form of a mantra and

123. S. chapter 7, pp. 211-224, T. pp. 246-1-8-247-3-2, C2. pp. 381-1-3-383-3-8.

124 OEAVS, TSD. Vol. 18, No. 869, p. 285-2-9-10.

125. The STTS enumerates the names of the sixteen Mahabodhisattvas as the form of mantra known as mudrd-vidyds: Vajra-krodha-samaya, Vajra-rosahkusi, Vajra-rosa-kama-vajrini, Vajra-tusti-krodha, Vajra-bhrkuti-krodha, Vajra-jvala-mala-prabha, Vajra-dhvajagra-keyuramaha- krodha, Vajratta-hasanI, Vajra-suddha-krodha, Vajra-tlksna-krodha, Vajra-hetu-mahakrodha, Vajra-jihva-maha-krodha-bhasa, Sarva-mukha-karma-vajrini-maha-krodha, Vajrakavaca- krodha, Vajra-canda-krodha-maha-yaksinI, Vajra-krodha respectively. (S. pp. 214-

2-216-3, T. p. 246-3-5-4-1, C2. pp. 381-2-19-382-1-6).

126. atha bhagavdn: S. p. 211-2, T. p. 246-1-8, C2. p. 381-1-4.

127. S. p. 212-3, T. p. 246-2-5.


This seed-syllable (bija) is missing in Chinese 2. 12S. atha vajrapanih punar api: S. p. 212-4, T. p. 246-2-5, C2. p. 381-1-20.

129. S. p. 220-18,'T. p. 247-1-2, C2. p. 382-3-27.

Tattvaloka reads: “VAJRA BANDIT AT


the rite of mandala-Qntry involving the methods of practising the sixteen danceofferings. (3) The next section starting with the words, “Then, one should teach the knowledge of the secret m mudra of wrath”131 and ending with the words,

“HUM MANO VAJRA TH A Jf\m

explains the muJra-knowledge of the Krodhaguhya Mudramandala.


(4) The final section starting with the words, “Then, one should teach the knowledge of the secret mudrd of the great Vajra-family”133 and ending with the words, “One should be possessed of the wrath through the wrathful vision”,134 briefly describes the rite of binding the four mudras of the Krodhaguhya Mudramandala.135 A characteristic of all the mahd-mudrds of the Krodhaguhya Mudramandala appears in the form of the hand gesture as in the case of those of the Vajraguhya Vajramandala (ch. 2).


2. Mandala Rites

a. Structure of the Krodhaguhya Mudramandala


This Mudramandala consists of the deities' symbols derived from the secret nature of the Mind of Vairocana, and is called Krodhaguhya because the secrets of the deities are transformed into goddesses and are manifested as symbols.136 “The supreme Vajramandala137 (of the Vajra-family) has the basic design of the Vajradhdtu {Mahamandala) and is called

Krodhaguhya (Wrath-secret) ’.

The whole mandala should be designed in conformity with the {Trilokavijaya) Mahamandala. One should place the secret mudras in the positions of the five mandalas. One should place an image of the Buddha at the centre of this Vajramandala. The wise should draw the wrathful pledges correctly around the Buddha.

Having approached with the vajra-impulse138 the mandala of Vajrapani (Vajrahiunkara-ma«<^z/n), one should horizontally draw


13°. Tattvaloka inserts: “vajra”.

131. tatah h'odhaguhyamudrajnanam siksayet: S. p. 221-1, T. p. 247-1-2, C2. p. 382-3-28.

132. S. p. 221-14, T. p. 247-1-5-6, C2. p. 383-1-13.

Tattvaloka reads: “HUM MANU VAJRA THAN.” Tibetan reads: “HUM VAJRA MANI THAH.”

133. tato mahdvajralailaguhyamudrdjnanain silcsayet: S. p. 222-1, T. p. 247-1-6, C2. p. 383-1- 14-15.

134. Icrodhadrstya snrosavan iti: S. p. 224-8-9, T. p. 247-3-1, C2. p. 383-3-6.

135. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 138-4-8-139-1-1.

136. Tattvaloka, TTP. Vol. 71, No. 3333, p. 267-4-4-6.

137. According to Sakyamitra the term ‘ Vajramandala’ denotes the mandala transformed by the Lord Vajrapani. {Kosalalamkara, TTP. Vol. 70, No. 3326, p. 294-5-2).

138. Sakyamitra explains that the phrase ‘approaching with vo/ra-impulse’ means approaching with the appropriate mantra and mudrd. (Kosalalamkara, TTP. Vol. 70, No. 3326, p. 295- 1-7).


a spear139 at the centre, and also place a vajra there. In the centres of the flames, one should draw in a correct order (1) a vajra, (2) a vajra-h.odk, (3) an arrow,140 and (4) (the symbol of) satisfaction (tusti).141

Having approached with the vayra-impulse the second supreme mandala142 (Ratnahumkara-ma«(ia/a), one should draw a vajragem which is placed in the centre of the wheel. One should draw

(5) a vajra in the centre of the frowning brows,143 (6) a vajra-sun,

(7) a banner,144 and (8) a set of teeth having vajras on both sides. Having approached (with the vq/ra-impulse) the third supreme mandala145 (Dharmahumkar a-wandala), one should draw a divine wyra-lotus,146 which is placed in the centre of the lotus. In the centres of the flames, one should draw correctly (9) a lotus, (10) a sword, (11) a wheel,147 and (12) a vajra-tongue.

Having approached with the vq/ra-impulse the fourth supreme mandala148 (Karmahrunkara-mfl«c/a/«), one should draw a vajra above a horizontally (drawn) vajra, which is surrounded by vajras and in great splendour.149 On its all sides having the splendour displayed by all the flames, one should draw (13) a crossed vajra, (14) a good armour, (15) a vayra-tusk, and (16) a fist. One should also draw (the other symbols) in the comers and in the external positions according to the instruction.”

According to the above description, the bodily image of the Buddha Vairocana at the centre of the whole mandala is exceptional for this is die mandala filled with the deities' symbols. This bodily image of Vairocana is surrounded as usual by the four symbols of four Paramitas, i.e. vajra, vajra-gem, vayra-lotus and crossed vajra. However, in die Trilokavijayasamaya Assembly of the Nine Assemblies Mandala,151 the bodily image of Vairocana is replaced by his symbol, i.e. a stupa inside flames standing on a horizontal three-pronged spear placed on the lotus-seat, as in the case of the Samaya Assembly of the Nine Assemblies Mandala152 which corresponds to the Vajraguhya Vajramandala of the STTS (ch. 2).


139. Chinese 2 reads: “vajra-spear”.

140. Chinese 2 reads: “vajra-arrow”.

141. Chinese 2 reads: “finger-snapping aspect”.

142. Chinese 2 adds: “to the south”.

143. Chinese 2 reads: “the vajra-frown having the image of gem”.

144. Chinese 2 reads: “gem-banner”.

145. Chinese 2 adds: “to the west”.

146. Tibetan reads: “the divine object of the Fay'ra-lotus”.

147. Chinese 2 reads: “vajra-wheel”.

14S. Chinese 2 adds: “to the north”.

149. Tibetan reads: “the great splendours of the vajra”,

150. S. pp. 212-6-213-11, T. p. 246-2-5-3-4, C2. p. 381-1-22-2-15.

151. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 989-1004.

152. TSD. Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 908-922.


The above indicated numbers refer to the sixteen wrathful Mahabodhisattvas' symbols in correct order. Anandagarbha provides more detailed information about the symbols of the four Humkaras and sixteen wrathful Mahabodhisattvas, The Vajvdlmmkptm-mandala in the eastern quarter consists of five symbols. The first one, which is the symbol of Vajrahumkara, is a vajra above a horizontally drawn three-pronged spear, the top of which faces towards the right. The other four symbols are (1) a five-pronged vajra, (2) a vq/ra-hook, (3) a vajra-arrow, and (4) a pair of fists. They are drawn in each centre of the flames, and correspond to the four wrathful Mahabodhisattvas surrounding Vajrahumkara. The Ratnahumkaramandala in the southern quarter also consists of five symbols. The first one, which is the symbol of Ratnahumlcara, is a five-pronged vajra, the top of which has a wish-granting-gem (cintamani), drawn in the centre of an eight-spolced wheel. The other four symbols surrounding Ratnahumlcara are (5) a vajra-gem in the centre of the frowning brow, (6) a five-pronged vajra in the centre of the sxm-mandala, (7) a banner of the wish-granting-gem above the lunar disc, and (8) a set of teeth having two vajras on both sides. The Dharmahumkara-maqcfa/a in the western quarter also consists of five symbols. The first one, which is the symbol of Dharmahumkara, is a sixteen-pronged vajra above an eight-petalled lotus. The other four symbols surrounding Dharmahumkara are (9) a sixteen-pronged vajra above a lotus in the centre of the flames, (10) a sword, (11) a wheel consisting of eight one-prongedvq/ ra-shaped spokes, and (12) a vq/ra-tongue. The Karmahumkara-vzarcq'a/a in the northern quarter also consists of five symbols. The first one, which is the symbol of Karmahumkara, is a crossed vajra, the end of which is surrounded by minute crossed vajras, above a three-pronged vajra, the top of which faces towards the east. The other four symbols surrounding Karmahumkara are (13) a crossed vajra, (14) vq/'ra-armour, (15) a double vq/ra-tusk, and (16) a five-pronged vajra seized by the two fists of the samaya-mudra explained in the Vajradhdtu Mandala.152 The above quotation does not include detailed descriptions about the symbols of eight Offerings, four Door-guardians and sixteen Bhadrakalpa Mahabodhisattvas, because they are the same as the symbols drawn in the Vajraguhya Vajramandala (ch. 2). It is evident that all the symbols are drawn inside flames. According to Anandagarbha and Sakyamitra,154 since this mandala does not give any clue about the external- Fq/ra-family, and four mandalas of the Trilokacalcra (ch. ll~14-a) provide detailed information about the external-Fq/ra-family, it is clear that the symbols of the external- Fq/ra-family do not exist in this mandala. Toganoo Sh5un155 argues that this Krodhaguhya Mudramandala has the symbols of the external- Fq/ra-family because the external- Fq/ra-family occupy the Trilokavijaya


153. Tattvaloka, TTP. Vol. 71, No. 3333, p. 268-1-4-2-6.

154 Tattvaloka, TTP. Vol. 71, No. 3333, p. 268-3-3-4; Kosalalatnkdra, TTP. Vol. 70, No. 3326, p. 295-4-2.

155. Toganoo Shoun, Mandara no kenltyii, pp. 352-353,


Mahamandala of the STTS, and the Trilokavijayasamaya Assembly of the Nine Assemblies Mandala156 shows the symbols of twenty gods of the external- Vajrafamily.


b. Entry into the Mandala


“At first, as soon as (the pupil) enters (the mandala) in conformity with the rite of entering the Trilokavijaya (Mahamandala), (the vajra-master) should execute the dance-offering with samayamudrd (gesture), prati157-mudrd (counter-mudrd), upa-mudra (subordinate-mwdra) and jhdna-mudra (knowledge-mwc/ra) of the Vajra-family of the Vajraguhya, for the sake of worshipping Vajradhara.


Thus, there is this ww<ira-knowledge of the (four kinds of) offerings, i.e. nrtya (dance), prati-nrtya (counter-dance), upanrtya (subordinate-dance) and jhana-nrtya (knowledge-dance). At first, (the vq/ra-master) should recite the hrdaya assembled in the Vajradhdtu (Mandala) together with the vq/ra-song.159 Having executed the praise-offering for all the Tathagatas, tire vq/ra-master should burst open the mudrd of Sattvavajri.160 Then, those who have already entered (this mandala) take possession of (divine knowledge) by means of (the above four kinds of) mudras.”


As in the case of the Trilokavijaya Mahamandala, the vq/ra-master enters this mandala by binding the terintiri-mudrd of Vajrakrodha. Then, when his pupil enters the mandala, the vq/ra-master executes the dance-offering with four kinds of mudras, i.e. samaya-mudrd, prati-mudra, upa-mudra and jndna-mudra. The samaya-mudrd belongs to the Fq/ra-family, and it consists of the mudras of the four Mahabodhisattvas of the Vajra-family. The prati-mudra which is the countermudrd of the samaya-mudrd belongs to the itatoa-family, and it consists of the mudras of the four Mahabodhisattvas of the Ratna-family. The upa-mudra belongs to the Dharma-family, and it consists of the mudras of the four Mahabodhisattvas of the Dharma-family. The jnana-mudrd belongs to the Karma-family, and it


156. TSD, Tu-xiang-bu (Iconographic Section), Vol. 1, pp. 989-1004.

157. The Tibetan text translates the Sanskrit word prati as 'dra-ba, which literally means ‘equal’. However, both Anandagarbha and Sakyamitra read it as lan, which means ‘reply’.

158. Chinese 2 reads: “in front o f Vajradhara”. 159. Anandagarbha comments that the vajra-song refers to

the hrdayas assembled in the

Vajradhdtu'. “OM, Vajrasattva, Assembler! Vajraratna, Superior! Vajradharma, Song-holder! Vajrakarma, Supreme-performer!”. (Tattvaloka, TTP. Vol. 71, No, 3333, p. 269-2-2-3).

16°. The mudrd of Sattvavajri is made by forming a fist with the right hand, and fastening the thumb behind the middle finger, and then stretching forth the middle finger. {Tattvaloka, TTP. Vol. 71, No. 3333, p. 269-2-5-6). This middle finger is burst open by means of forming a hook with the forefinger of the vay'ra-fist of the left hand. {Kosalalamkara, TTP.

Vol. 70, No. 3326, p. 296-3-8).

161. S. p. 217-8-17, T. p. 246-4-4-7, C2. p. 382-1-25-2-6.


consists of the mudras of the four Mahabodhisattvas of the Karma-f&mi\y.162 According to Sakyamitra,163 when the vajra-master binds the mudrd of Vajrasattva, his pupil sees it and binds the mudrd of Vajraratna which is the counter-mudrd of the mudrd of Vajrasattva. Then the vajra-master releases the mudrd of Vajrasattva and binds the mudrd of Vajraraja. When his pupil sees it he binds the mudrd of Vajratejas which is the counter-mwc/ra of the mudrd of Vajraraja. In this way, die vq/ra-master teaches the four samaya-mudras and the four prati-mudras. Then, he shows the four upa-mudrds and his pupil practises binding them. Finally, he shows the four jndna-mudras and his pupil practises binding them. Since these four kinds of mudras were basically derived from Indian ritual dances, they correspond to nrtya, prati-nrtya, upa-nrtya and jndna-nrtya respectively, each of which consists of four offerings.


b-L Nrtya-offering


“While executing the vajra-dance with two fingers of Vajrakrodha, one should bind the mudrd of Vajrahumkara166 at one's heart.

Then, while executing the dance-rite, one should attract all the Buddhas with the hook of Vajrakrodha. (Then) one should shoot the vayra-arrow.

While shooting the va/ra-arrow, one can succeed with Vajratusti (Vajra-]oy). Having untied the mudram according to the rite, one should bind it with one's palms (which refer to clapping gently the hands in order to make the mudrd steadfast169). One should delight Vajrapani with this (dance-) offering-rite. Due to his satisfaction, one can accomplish all the desired activities in a moment.”


b-2. Pratinrtya-offering


“While dancing in the same way, one should hold the left hand with the right fist. Having turned it round, one should place the tip of the forefinger on the forehead.


162. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 296-1-6-2-3; Tattvaloka, TTP. Vol. 71, No.

3333, p. 269-1-5-8.

163. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 296-2-3-8.

164. Tibetan reads: “two forefingers”.

165. Chinese 2 omits “Vajra”.

166. Chinese 2 reads: “the maha-mudra of Trilokavijaya”.

167. Chinese 2 reads: “one should make the gesture of shooting the vajra-arrow”.

168. Kosalalamkara adds: “at the heart”. (TTP. Vol. 70, No. 3326, p. 296-5-2).

169. Kosalalamkara, TTP. Vol. 70, No. 3326, p. 296-5-4.

170 S. p. 218-1-8, T. p. 246-4-7-5-1, C2. p. 382-2-7-14.

171. Chinese 2 reads: “While executing the vq/ra-dance in the same way one should hold the right fist with the left hand. Having turned it round, one should place it on the forehead, and then place the forefinger in the mouth.”


While dancing in the same way, one should encircle the sun172 and summon it. Having raised the vfyra-banner, one can laugh with Vajrattahasa173 ( Hfyra-loud-laughter). By means of this rite of worshipping, one can satisfy all men including kings with power and splendour or with gifts and hope”


b-3. Upanrtya-offering


“Then, having finished the dance, and having placed over one's heart the tips of the forefingers which are joined together like a lotus-bud, one should bow down with thoughts (as if) trembling. While dancing again in the same way, one should cut off the hindrances with the vfym-sword.

Just as one turns round the wheel of a fire-brand, in the same way one should turn the wheel-?nandala. While singing with the vfyra-sound, one should worship Vajrapani. By means of this offering-rite, one attains everything eternally.”


b-4. Jnananrtya-offering


“The fingers of the vfyra-wrath should be stretched upwards, and their tips should be joined. Having turned them round, one should place the tips of the forefingers on the crown.176 By means of the vfyra-action, one should display the supreme mandala of the universal action,177 according to the dance-rite. Then, one should re-establish it over the heart.

Then, while executing the dance-rite, one should bind (the mudrd of) Vajraraksa. Having bound (the mudrd of) Vajradamstra, one should press with the vajra-fist.178 By means of this offering-rite, one can execute all rituals. Having executed the four rites of the offerings, one should untie the mudrd according to the rite.”

The functions of these four kinds of dance-offerings are explained by Anandagarbha.180 The nrfys-offerings are the means of worshipping employed for the purpose of generating the thought of enlightenment, the pratinrtya-offerings are


172. Chinese 2 reads: “ the sun-matidala”.

173. Tibetan reads: “the vq/>-a-laugh, so-called,-/m ha”.

174 S. pp. 218-15-219-4, T. p. 246-5-2-4, C2. p. 382-2-21-26.

175. S. p. 219-10-15, T. p. 246-5-5-7, C2. p. 382-3-4-9.

176. Chinese 2 reads: “Having turned them round, one should place them on the crown, and should place their forefingers in the mouth.”

177. Tibetan reads: “the universal body”.

178. Chinese 2 reads: “Having joined both hands, (one forms the mudrd of) Vajradamstra, and the two vayra-fists press each other.”

179 S. p. 220-6-13, T. pp. 246-5-7-247-1-2, C2. p. 382-3-15-22.

180 Tattvaloka, TTP. Vol. 71, No. 3333, pp. 269-2-8-270-2-3.


used for attaining the perfection of giving (ddna-paramitd), and the upanrtyaofferings are used for attaining the perfection of wisdom (prajnd-pdramita). Since the perfections of giving and of wisdom are the first and the last of the six perfections, the pratinrtya-offcvmgs and the upanrtya-off&iings symbolise attaining all the six perfections. The final jndnanrtya-offerings, which include the method of releasing the mudrd which symbolises the liberation from bondage, refer to the methods of the imperishable yoga.


3. Mudra-Knowledge


The mwc/ra-knowledge or attainment-knowledge of this mandala is entitled ‘Icrodha-guhya-mudrd-jndna5.181 The Sanskrit term Icrodha-guhya indicates the Krodhaguhya Mudramandala,

“If one generates the wrathful thought, and (imagines) destroying someone whose name is called by a vajra clasped182 with one's hands, his heart will burst.

If one (imagines) holding and pressing down with one's teeth the lower lip of someone whose name is called, his head will burst quickly, as soon as he transgresses one's command. If one (imagines) closing one's eyes possessing the great vision of Vajrakrodha, and beholding someone whose name is called, his eyes will burst.

While meditating on Vajrakrodha, if one (imagines) pressing upon one's heart with one's vajra-bond, the mind (of someone whose name is called) will burst open.”

In this rite, Vajrakrodha indicates a wrathful deity chosen by the sddhaka in this mandala. This rite begins with performing deity -yoga. In this yoga, the sddhaka visualises and worships his deity with the dance-offerings. Then, the sddhaka can summon, draw in, bind and subdue deities, especially evil deities, by means of the powers of the body, speech, vision and mind of his deity.


4. Conclusion


Since the Krodhaguhya Mudramandala has the characteristics of the samayamudrd represented by symbols and gestures, this mandala is filled with the symbols of the deities of the Trilokavijaya Mahamandala. Most images of the symbols drawn in the mandala are basically similar to those of the Vajraguhya Vajramandala (ch. 2), the main difference being that all the symbols of the Krodhaguhya Mudramandala are placed inside flames, which symbolise the wrathfiil aspects. The rite of entry into this mandala employs the sixteen danceofferings derived from the gestures of Indian ritual dances. These sixteen danceofferings symbolise the sixteen female-shaped Mahabodhisattvas of the Vajra-


1S1. Chinese 2 reads: “la*odha-vajra~mudra-jnancC\

182. Only Tibetan misreads "clasped” (Sanskrit grhyct) as “secret” (guhya).

183. S. p. 221-2-9, T. p. 247-1-3-5, C2. p. 383-1-1-8.


family represented by the symbols in the mandala. Thus, the sddhaka worships Vajrahumkara with these sixteen dance-offerings in order to generate the nature of Vajrahumkara in his mind and to subdue evil beings by the powers of Vajrahumkara.


Chapter 8. Vajrakula Dharmajnanasamayamandala


Chapter 8 of the STTSm provides an exposition of the Vajralaila


Dharmajnanasamayamandala which is classified as the dharma-mandala and constitutes the supreme dharma-mudra. This mandala focuses on the Wrathful Speech of Vajrapani. Like Hie Vajrajnana Dharmamandala (ch. 3), this mandala also contains the main thirty-seven deities, and each deity is drawn in the centre of a vajra holding its own symbol. As Amoghavajra185 points out the mudrdknowledge of this mandala deals with the destruction-rite (abhicaraka) and explains the various meditational methods, such as controlling the mind with the subtle-va/ra, all of which are derived from those described in the Vajrajnana Dharmamandala (ch. 3). In addition, die secret rite of this mandala explains four methods of subduing or destroying evil beings by practising the deity -yoga of Vajrahumkara.


1. Structural Analysis o f Chapter 8


(1) The first section of chapter 8 of the STTS starting with the words, “Then the Lord”186 and ending with the words, “0M SUKSMA VAJRA MUSTI KRODHA BANDHA BANDHA HUM PHAT”,1*1 provides an exposition of the second samddhi called the supreme mandala-king of the Vajralaila Dharmajndnasamayamandala. Thus, this section displays twenty-one deities' names excluding the names of the four Paramitas, the eight Offerings and the four Door-guardians out of the main thirty-seven deities of this mandala. Each name of the sixteen wrathful Mahabodhisattvas includes two Sanskrit words, i.e. krodha (wrath) and sulcsma (subtle) referring to the suksma-jhana (subtle-knowledge).


(2) The next section starting with the words, “Then 188Vajrapani once again enunciated this Vajrakula Sulcsmajndnasamayamandala”189 and ending with the words, “One should place the vajra into both hands190 (of the pupil)”,191 explains the mandala-rites of the Vajrakula Dharmajnanasamayamandala. (3) The next section starting with the words, “Then, one should teach the subtleltnowledges of the va/ra-wrath”192 and ending with the words, “HUM


HRDAYAKARSANA KRODHA PRAVlSA KAYAM HRDA YAM CCHINDA


184. S. chapter 8, pp. 225-235, T. pp. 247-3-2-248-3-3, C2. pp. 383-3-14-385-3-25.

185. ORA VS, TSD. Vol. 18, No. 869, p. 285-2-11-13.

186. atha bhagavam: S. p. 225-3, T. p. 247-3-2, C2. p. 383-3-15.

187. S. p. 227-18, T. p. 247-4-4, C2. p. 384-2-24-25.

188. Chinese 2 inserts: “the Bodhisattva Mahasattva”.

189. atha vajrapanih punar apldam vajrakulasulcsmajhdnasamayamandalam udajahara: S. p.

228-1-2, T. p. 247-4-4, C2. p.'384-2-26-3-1.'

190. Sanskrit reads: “the hand”, Chinese 2 omits: “both hands”.

191. vajram yathavat panau dattva: S. p. 229-3-4, T. p. 247-5-3, C2. p. 384-3-18.

192. tato vajralcrodhasultsmajhanani si/csayet: S. p. 229-4-5, T. p. 247-5-3, C2. p. 384-3-19.


BHINDA KADDHA KADDHA193 m P H A T \195 explains the mw^ra-knowledge of the Vajrakula Dharmajnanasamayamandala consisting of four kinds of meditational practices and a secret rite.

(4) The final section stalling with the words, “Then, one should teach the knowledge of the dharma196-mudrd of the Fq/ra-family” 197 and ending with the words, “The karma-mudrds briefly are accomplished according to the rite”,198 briefly explains the basic characteristics of the four mudras of the Vajrakida Dharmajnanasamayamandala.


2. Samddhis o f Vairocana and Four Chief Mahabodhisattvas


Chapter 8 of the STTS begins with five samddhis of Vairocana and four chief Mahabodhisattvas, i.e. Vajrapani, Vajragarbha, Vajranetra and Vajravisva, who represent the four families, i.e. Vajra, Ratna, Padma and Karma respectively. These four Mahabodhisattvas represent and replace the four Tathagatas of the Vajradhdtu. The STTS explains the five samadhis:-

“Then, the Lord once again having entered the samddhi called the Mudrd-Empowerment of the Samadhi-YLno'wlQdgG of the Vajra- Family of All the Tathagatas, pronounced this supreme vidyd (of his ):

OM SARVA-TATHAGATA SUKSMA VAJRA KRODHA HUM PHAT.

Then, the Mahakrodharaja201 Vajrapani pronounced this supreme vidyd of the subtle-vq/ra of conquering the three worlds:

OM SUKSMA VAJRA KRODHAKRAMA HUM PHAT.

Then, the Bodhisattva Vajragarbha pronounced this supreme vidyd of the subtle-wz/ra of conquering the three worlds:

OM SUKSMA VAJRA RATNA 202KRODHAKRAMA HUM PHAT.

Then, the Bodhisattva Vajranetra pronounced this supreme vidyd of the subtle-vq/ra of conquering the three worlds:

OM SUKSMA VAJRA PADMA KRODHAKRAMA HUM PHAT.

Then, the Bodhisattva Vajravisva pronounced this supreme vidyd of the subtle-vq/ra of conquering the three worlds:

OM SUKSMA VAJRA KARMA KRODHAKRAMA HUM PH AT.”203


193. Tibetan reads: “KATA KATA

194. Tattvaloka and Tibetan both insert: “HUM”.

195. S. p. 233-14-15, T. p. 248-2-5, C2. p. 385-3-6-8.

196. Chinese 2 inserts: “mandala”.

197. tato vajrakuladharmamiidra.jfia.nam siksayet: S. p. 234-1, T. p. 248-2-5-6, C2. p. 385-3-9.

198. karmamudrdh samasena siddhim yanti yathavidhir iti: S. p. 235-3-4, T. p. 248-3-2, C2. p. 385-3-25.

199. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 139-1-2-2-6.

200. Tibetan and Chinese 2 both omit: “his”.

201. Tibetan omits: “Mahd”.

2 0 2 . Only Sanskrit omits: “KRODHA".

203. S. pp. 225-3-226-6, T. p. 247-3-2-7, C2. pp. 383-3-15-384-1-10.


From this chapter (ch. 8 of part two) up to the last chapter of part four (ch. 22-b) there is a common pattern in each of the opening sections consisting of the samddhis of Vairocana and four chief Mahabodhisattvas except the expositions of three mandalas classified as eka-mudrd-mandala, i.e. Vajrahumkara Mandala (containing only the samddhi of Vajrapani), Sarvajagadvinaya Mandala (containing only the samddhi of Avalokitesvara), and Sarvarthasiddhi Mandala (containing only the samddhi of Akasagarbha).


3. Mandala Rites


a. Structure o f the Vajrakula Dharmajnanasamayamandala


The Trilokavijaya Mahamandala is comparable to the Vajralaila Dharmajhanasamayamandala because the latter is constructed in conformity with the former. However, one difference is that in this latter mandala each deity is drawn in the centre of the vajra symbolising the vq/ra-subtle-knowledge like the Vajrajnana Dharmamandala (ch. 3):-


“The supreme Dharmamandala (of the Fq/ra-family) has the basic design of the Vajradhdtu {Mahamandala) and is called lKrodhajhdna (Wrathful Knowledge)’.

One should design the whole mandala in conformity with the {Trilokavijaya) Mahamandala. At the centre of (the whole mandala), one should draw the Buddha (Vairocana) placed in the centre of the knowledge-vq/ra.

One should draw (four) symbols on all sides of the Buddha. Having approached with the vq/ra-impulse, one should correctly position (four Mahabodhisattvas), namely, Trilokavijaya and the others in (the centres of) the four-fold mandalas. On all their sides, the Vajrakrodhas should be positioned according to the rite.

According to the STTS, this Vajrakula Dharmajnanasamayamandala is also called Vajrakula Suksmajndnasamayamandala, the meaning of which is explained by Anandagarbha as the subtle-knowledge {sulcsma-jhdna) of the Fq/ra-family indicating the subtle-vq/ra {suksma-vajra) and the pledg^-mandala {samayamandala) of this subtle-vq/ra is called dharma-mandala.209 As stated in the section on the Vajrajnana Dharmamandala (ch. 3), since the subtle-vq/ra is the knowledge-vq/ra and is regarded as the symbol of this mandala, the Buddha Vairocana is drawn in the centre of the knowledge-vq/ra. In this mandala, Vairocana assumes the posture of meditation and holds the subtle-vq/ra over his


204. S. pp. 250-6-252-3 of chapter 10, T. p. 249-4-8-5-6, C2. pp. 388-3-9-389-1-3.

205. S. pp. 379-380-7 of chapter 18-b, T. pp. 260-5-6-261-1-5, C2. p. 411-2-20-3-15.

206. S. p. 433 of chapter 22-b, T. p. 266-2-4-8, C2. pp. 422-3-23-423-1-8.

207 Tibetan reads: “all the essential images of the Buddha”.

208. S. p. 228-3-11, T. p. 247-4-4-7, C2. p. 384-3-2-9.

209. Tattvaloka, TTP. Vol. 71, No. 3333, p. 272-5-1-2.


heart and is drawn above a horizontal five-pronged blazing vajra on the lion-seat, surrounded by the four symbols of his four Paramitas. The four Humkaras and the other deities adopt a sitting cross-legged posture and hold over their hearts their own attributes with their hands formed into the vq/ra-bond.210 Like Vairocana, each of these deities is also drawn in the centre of the knowledge-vq/ra.


b. Entry into the Mandala


Since the ritual of the entry into this mandala is basically identical with the ritual of the Trilolmvijaya Mahamandala, most of the details such as the vq/ra-master's entry-rite are omitted in this section of the STTS. However, the tantric vow is particularly emphasised:-

“In the beginning, as soon as (the pupil) enters (the mandala), (the vajra-master) should say to the pupil:211 ‘Now you have been consecrated in the nature of Vajrakrodha of all the Tathagatas by the Lord Vajrapani. Exert yourself. In order to realise the goals that range from liberating the whole and complete sphere of living beings up to the acquisition of the highest attainment of the benefit and welfare of all the Tathagatas, one may kill all living beings by Vajrakrodha as a token of then purification. Who again will dare to speak about (killing) all evil beings?’ Having said thus, (the vajra-master) should remove the face-cover (of the pupil). Then, having revealed the whole mandala, (the vq/ra-master) should place the vajra into both hands212 (of the pupil).”

The key phrase in this quotation, “One may kill all living beings by Vajrakrodha as a token of their purification. Who again will dare to speak about (killing) all evil beings?”, interpreted on the basis of the story of Vajrapani's subjugation and the conversion of Mahesvara, is that the sddhaka should kill and resuscitate all living beings, and definitely all evil beings, for their purification and conversion by means of Vajrahumkara visualised as the sddhaka himself.


4. Mudrd-Knowledge


a. Vajralcrodhasuksmajhana


Hie term Vajrah'odhasulqsmajnana means the knowledge of the subtle {-vajra) of Vajrakrodha referring to Vajrahumkara or any wrathful deity chosen by the sddhaka. It is divided into four kinds of meditation practices, by means of which the sddhaka gains the powers of destroying all evil beings. The following sections (a), (b), (c) and (d) basically employ the same meditation methods as those


2i0. Ibid., p. 273-1-3-2-2.

21 f Sanskrit and Tibetan both omit: “to the pupil”.

212. Sanskrit reads: “the hand”. Chinese 2 omits: “both hands”.

213. S. p. 228-14-229-4, T. p. 247-4-8-5-3, C2. p. 384-3-11-18.


described in the Vajrajnana Dharmamandala (ch. 3), i.e. four dhydnas, four brahma-vihdras, four drupya-samapattis and three vimolcsa-mukhas respectively. (a) “(The sddhaka) should (reflect upon the subtle-vq/ra at the tip of his nose) and make the subtle-vq/ra steadfast in union with Vajrahumkara. Then, if he applies it (from the tip of his nose) to (the nose of) someone (while joining in Vajrahumkara and reciting) the syllable HUM, the life of that 214one is destroyed. Having made the subtle-vq/ra steadfast, he should diffuse it (like breathing out) according to the rite. Where he diffuses it, there the enemy is destroyed.

In union with Vajrahumkara, he should execute the rite of the subtle-vq/ra. Where he diffuses it in wrath (into the worlds in all directions), there living beings215 will be destroyed totally. In the same way, he should withdraw it (like breathing in). While joining in (the deity-) yoga, if he wishes, he can restore the life216 (of someone who has been destroyed) completely without exception.”

(b) “He should steadfastly remain hostile218 against someone. By means of diffusing friendliness, he can destroy that one by hostility.

By means of diffusing hostility, he (should engender) compassion towards someone. By means of that compassion, he can destroy all evil beings.

If he conceives that both dharmas and adharmas219 have luminousness220 by their nature, he can destroy living beings by means of (reciting) the syllable HUM (and performing the Vajrahumkara-yoga).

Heretics are not the vessels for the Buddhahood. For the benefit of their purification, he should destroy them by means of (reciting) the syllable HUM (and performing the Vajrahumkara-yoga:).”221 (c) “He should draw an image of the vajra in his mind. (If he imagines that) it descends into the centre of someone's house, he can destroy the family therein.

In the same way, he should visualise the heart-vajra (referring to Vajrasattva) according to the subtle {-vajra) rite. (If he imagines


214. Chinese 2 inserts: “evil”. 215. Chinese 2 reads: “evil beings”.

21 k Chinese 2 reads: “the life o f an evil being”.

217. S. p. 229-6-13, T. p. 247-5-3-6, C2. p. 384-3-20-27.

218. Compared with Tibetan and Chinese 2, the Sanskrit term vajrarn written in the Yamada Isshi's STTS (page 230 line 1) and Lokesh Chandra's Devanagarl edition (page 79 line 29) is the misprint for the Sanskrit term v air am, which means ‘hostile’. 219. Anandagarbha interprets dharmas and adharmas in this context referring to ten virtues (Icusala) and ten sins (akusala). (Tattvaloka, TTP. Vol. 71, No. 3333, pp. 274-1-2-3). 220. Chinese 2 reads: “purity”.

221. S. p. 230-1-8, T. pp. 247-5-7-248-1-2, C2. p. 385-1-5-12.


that) an image of Mahabodhisattva222 descends (into the centre of someone's house), he can destroy the family (therein). He should visualise a great image of Vajrapani. If (he conceives that die great image of Vajrapani) descends into the kingdom223 (filled) with various sorts of vices, he can destroy it together with its king.224

He should visualise an image of the Buddha endowed with the best of all forms. If (he conceives diat the image of the Buddha) descends into the kingdom225 (filled with various sorts of vices), he can destroy that kingdom226 permanently.”227228 (d) “By means of the subtle-vq/ra, he should visualise an image of the moon as himself. If he descends into some place with his mind, he can cause destruction there.

He should visualise a vajra inside the moon as himself. Being greatly enraged, if he descends into some place with his mind, he can destroy the family of that place instantly. He should visualise Vajrapani as himself. If he descends into some place with his mind, he can destroy that place instantly. He should visualise an image of the Buddha as himself If he descends into some place with his mind, he can destroy the kingdom of that place instantly.”

In section (a), the sddhaka meditates on the subtle-vq/ra together with performing the yoga of Vajrahumkara (or his deity-yqga) and reciting the syllable HUM. Thus, by means of employing the subtle-vq/ra and deity-yoga, the sddhaka destroys all evil beings. Section (b) explains the methods of cultivating feelings. In order to cultivate feelings effectively, the sddhaka meditates on binary opposites, i.e. friendliness and hostility, compassion and hostility, dharmas and adharmas, and purification and destruction. Sections (c) and (d) both explain the methods of destroying evil families or places, but differ in section (c) where the sddhaka accomplishes destruction by means of the objects visualised by himself, whereas in

222. Only Sanskrit reads: “a great image of Bodhisattva”.

223. Tibetan reads: “samsara” instead of “kingdom”.

224. Tibetan reads: “queen” instead of “king”.

Chinese 2 reads: “In samsara, who does evil actions against Dharma can be a man or a woman. While he conceives of an image of Vajrapani, he should destroy whoever has done evil actions.”

225. Tibetan reads: “the place where is perceived”.

226. Tibetan reads: “samsara” instead of “kingdom”.

227. Chinese 2 reads: “According to the instruction, he should conceive of an image of Buddha endowed with the best of all forms. While conceiving of it, he should destroy whoever mocks at Dharma and acts against Dharma, in samsara.”

22S. S. p. 231-1-8, T. p. 248-1-2-5, C2. p. 385-1-20-27.

229. Tibetan reads: “samsara'1 instead of “kingdom”.

230. Chinese 2 reads: “He should conceive of an image of the Buddha as himself. If he wishes to destroy someone who acts against Dharma, that one will be destroyed instantly.” 231. S. p. 232-1-8, T. p. 248-1-6-8, C2. p. 385-2-5-12.


section (d) the sddhaka does it by himself, i.e. by means of the objects visualised as himself.


b. Secret Rite


“In union with Vajrakrodha (vajrakrodha-samdpatti), if (the sddhaka) moves his (visualised) body, and embraces someone whose name is called (with his visualised body) while reciting: Vajrahumkara, that one will die.

He enters the state of the subtle-vq/ra. As soon as he breaths out the subtle {-vajra) from his nose while (reciting) the syllable 'HUM , he can even destroy the three worlds.

If he performs the rite of the subtle-vq/ra, and in wrath he beholds anyone with the vq/ra-vision, that one will be either blind or dead. If he enters the orifice {bhaga) of someone, and summons the heart of that one with his mind, he can bring that one under either his or Yama's control.”

This rite explains four methods of destroying evil beings by means of the yoga of Vajrahumkara. In this rite, the sddhaka visualises Vajrahumkara as himself, and subdues evil beings by means of the visualised Vajrahunilcara's body, speech, vision and mind. Thus, the above four segments refer to the four mudras of Vajrahumkara, i.e. body-mudrd, speech-mwrira, vision-mudrd and mind-mudrd respectively.


5. Conclusion


All the rites of the Vajralaila Dharmajnanasamayamandala are related to meditation {samddhi) and the subtle-vq/ra {sulcsma-vajra) symbolising knowledge and truth. Thus, every deity drawn in this mandala holds its own symbol, assumes the posture for meditation and is positioned at the centre of the subtle-vq/ra or knowledge-vq/ra. In addition, the mwrira-knowledge of this mandala focuses on the meditation like the Vajrajnana Dharmamandala (ch. 3). However, while the purpose of the Vajrajnana Dharmamandala is to generate the thought of enlightenment and eventually to attain Buddhahood through controlling the mind, the purpose of the Vajrakula Dharmajnanasamayamandala is to destroy all evil beings, or symbolically to eliminate all hindrances and sufferings arisen in the mind, by means of the deity of Vajrahumkara or the sddhaka's chosen deity.


Chapter 9. Vajrakula Karmamandala


Chapter 9 of the explains the Vajrakula Karmamandala which is classified as the karma-mandala and constitutes the supreme karma-mudra. This mandala focuses on the Wrathful Action of Vajrapani. Since this is the mandala of worshipping Vairocana and the four Humkaras, all the other deities have female appearances. This mandala explains the homa-rite (bumt-offering) as its attainment-lcnowledge. The OKA VS of Amoghavajra provides a short summary of this chapter


“The fourth mandala (of the Trilolmvijaya) is called the karmamandala. It also contains thirty-seven deities. (This section of the tantra) explains the rite of entering the mandala. In this section, the homa-rite is explained to the pupil. Thus, if one makes extensive offerings in front of the immeasurable Buddhas and Boddhisattvas, one can then accomplish siddhis quickly. The text also explains twenty-five kinds of homa hearths (kunda) and the methods of offering in accordance with their types.


One of the slight differences between the OEA VS and the STTS is found in this quotation, because there is no description of the hearths employed for the homa rite in the STTS. Instead the STTS explains the sixteen kinds of substances (dravya) used for burning and the methods of executing the homa rite by means of burning them.


1. Structural Analysis o f Chapter 9


(1) The first section of chapter 9 of the STTS starting with the words, “Then, the Lord entered the samadhi called the Empowerment Generated from the Pledge of the Vajra-Action of all the Tathagatas”235 and ending with the words, “They remained resting on the lunar discs”,236 provides an exposition of the second samadhi called the supreme mandala-king of the Vajralada Karmamandala. This section contains the five samddhis of Vairocana and the four chief Mahabo dhisattvas.

(2) The next section starting with the words, “Then, the Mahabodhisattva237 Vajrapani”238 and ending with the words, “Then, in this karmamandala one should execute the extensive rite correctly”,239 explains the mandala-rites of the Vajrakula Karmamandala. This section enumerates the names of the sixteen

233. S. chapter 9, pp. 236-245, T. pp. 248-3-3-249-2-7, C2. pp. 385-3-26-388-1-4.

234 OEAVS, TSD. Vol. 18, No. 869, p. 285-2-16-17.

235. at ha bhagavam sarvatathagatavajrakarmasamayasambhavadhisthdnan nama samddhim samapadya: S. p. 236-2-3, T. p. 248-3-3, C2. p. 385-3-27—28.

236. candramandaldny asritydvasthitd iti: S. p. 238-2, T. p. 248-4-2-3, C2. p. 386-2-2. 237. Tattvdloka omits: “Mahabodhisattva”.

238. atha vajrapanir mahabodhisattva: S. p. 238-3, T. p. 248-4-3. Chinese 2 omits. 239. athatra karmamandale yathdvad vidhivistarah h'tva: S. p. 240-1, T. p. 248-5-2, C2. p. 386- 3-17-18.


Mahabodhisattvas of the mandala, but does not provide detailed information about the entry-rite into the mandala.

(3) The next section starting with the words, “One should generate the knowledges of the action240 of the Vajra-family”241 and ending with the words, “OM VAJRADHARA GUHYA SIDHYA HUM”,242 explains the attainment-knowledge of the Vajrakula Karmamandala. This section focuses on the homa rite and a secret rite. (4) The final section starting with the words, “Then, one should teach the knowledge of the mahamudrd of the action of the Vajra-family”243 and ending with the words, “by means of the vq/ra-action”,244 provides a short summary of the four mudras of the Vajrakula Karmamandala


2. Structure o f the Vajrakula Karmamandala


Like the Vajrakdrya Karmamandala (ch. 4) the sixteen Mahabodhisattvas in this mandala appear in feminine form because according to the STTS female deities generated from Vajrapani's heart dwell in the lunar discs of this mandala, and also their names in the Sanskrit STTS have feminine endings.246 “The supreme Karmamandala (of the Vajra-family) has the basic design of the Vajradhdtu (.Mahamandala) and is called ‘Karmavajra (Action- Vajra). ’

One should design the whole mandala247 in conformity with the {Trilokavijaya) Mahamandala. One should place an image of the Buddha (Vairocana) in the centre of the (whole) mandala. One should place (four) symbols of (four Paramitas) on all sides of the Buddha.

Having approached the four-fold mandala with the vq/ra-impulse, one should correctly arrange four Lords, i.e. Vajra (-humkara) and the others (namely, Ratnahumkara, Dharmahumkara and Karmahumkara). One should place the Mahasattvas248 at their sides.”


This mandala has the same external structure and positions as those of the Trilokavijaya Mahamandala and contains the main thirty-seven deities. However, since this is classified as the karma-mandala denoting the offering-mandala only Vairocana and the four Humkaras have male forms, and the other deities excluding the four Paramitas drawn as then symbols in this mandala have female bodily


240. Tibetan omits: “action”. Chinese 2 reads: “the supreme action-knowledges”.

241. vajrakulakarmajndnany utpadayet: S. p. 240-2, T. p. 248-5-2, C2. p. 386-3-18.

242. S. p. 244-14, T. p. 249-2-4, C2. p. 387-3-25.

243. tato vajrakulakarmamahamudrdjnanam silcsayet: S. p. 245-1, T. p. 249-2-4-5, C2. p. 387-3-


244 vajrakarmaprayogatah: S. p. 245-7, T. p. 249-2-6, C2. p. 388-1-4.

245. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 139-2-6-4-2.

246 S. pp. 237-11-239, T. p. 248-3-8-5-2, C2. p. 386-1-25-3-16.

247. Chinese 2 reads: “five mandalas”.

24S. Tibetan reads: “Mahapujas (Great Offerings).”

249. S. p. 238-5-13, T. p. 248-4-3-6, C2. p. 386-2-4-11.


shapes. In addition, sixteen Bhadrakalpa Mahabodhisattvas are also drawn in female form in this mandala.


3. Homa Rite


This section of the STTS which refers to the homa250 rite describes the sixteen kinds of substances (dravya), the homa rituals related to them, and the attainments acquired as their results. However, the explanations given are brief and general. An independent manual devoted entirely to the homa rites entitled Jin-gang-ding-yuqie- hu-mo-yi-giti ( Vajrasekhara-yoga-homa-vidhi)251 and translated into Chinese by Amoghavajra provides much more detailed information about tire homa rite belonging to the Yoga-Tantra class than the STTS. In addition, this text also has some descriptions of homa hearths which have been mentioned in the introductory section of the OEA VS of Amoghavajra. Thus, before dealing with the homa rite of the STTS it will be useful to summarise and quote here die relevant homa rite from this text.

“In the case of the pacification rite the hearth is round in shape and is adorned with a wheel. The firewood of sweet taste (madhura) is used as its offertory wood (samidh) and white-coloured items are used in this rite. The sddhaka forms the mudrd of the Buddha and performs this rite from dusk to midnight while facing north reciting the mantra:

lOM SARVA-PAPA DAHANA VAJRAYA SVAHA\


In the case of the acquisition of prosperity rite the hearth is square in shape and is adorned with a three-pronged vajra. The firewood of the fruit tree is used as its offertory wood and yellow-coloured items are used in this rite. The sddhaka forms the mudrd belonging to tire Gem-family and performs this rite at forenoon while facing east reciting the mantra:

OM VAJRA PUSTAYE SVAHA\

In the case of the destruction rite the hearth is triangular in shape and is adorned with a one-pronged vajra. The firewood of bitter taste is used as its offertory wood and black-coloured items are used in this rite. The sddhaka forms the mudrd of Vajrakrodha belonging to the Vajra-family and performs this rite at noon while facing south reciting the mantra:

HUM VAJRASATTVAYA PH AT.

250. According to David Snellgrove (Indo-Tibetan Buddhism, pp 238-240), the Sanskrit term homai which is connected with the verbal root hu- meaning ‘to offer’, means simply an oblation made from Vedic times onward, usually as a burnt offering. The practice of making such an offering to the gods was taken up by Buddhists during the Mahayana period, and it was mentioned in connection with the consecration ceremony as performed according to the Mahjusrimulalcalpa. It comes to be closely associated with rites involving ‘mundaneaspirations, the size and shape of the sacrificial hearth and the items which are consumed in the fire depending upon the kind of rite, tranquil or prospering, subduing or destroying, which is to be performed.




In the case of the attraction rite the hearth is shaped like a vajra and is adorned with a hook. The firewood of the thorny tree is used as its offertory wood and red-coloured items are used in this rite. The sddhaka forms the madrd of Vajrahkusa (Ktyra-hook) and performs this lite at all times while looking in all directions reciting the mantra: lOM VAJRAKARSAYA JAH\

In the case of the subjugation rite the hearth is shaped like a long lotus leaf and is adorned with a lotus. The firewood of the flowering tree is used as its offertory wood and red-coloured items are used in this rite. The sddhaka forms the madra belonging to the Lotus-family and performs this rite during the latter half of the night while facing west reciting the mantra'. ‘HUM VAJRAVESAYA JAET.”152

As can be seen this text classifies the homa rite as the five groups, i.e. pacification (sdntika), acquisition of prosperity (paustika), destruction (<abhicaraka), attraction (dkarsana) and subjugation (vasikarana).

The STTS explains the homa rite as follows

“(a) If one lights the fire with the firewood of sweet taste253 with a well-concentrated mind, and offers there the sesame seeds while joining in the samdpatti of Vajrakrodha, one can consume sins. If one lights the sacrificial fire (hutasana) with the same firewood, and bums grains continually, one can surely obtain prosperity for the house.

If die learned one lights die fire with die firewood of sweet taste,254 and bums new leaves of the durvd grass mixed with ghee, one can gain longevity.

If one lights the sacrificial fire with the same firewood, and bums the new leaves of die kusa grass together with oil, one can be protected perpetually.

(b) If one lights the fire with the firewood of thorny trees256 while abiding in the samadhi of Vajrakrodha, and bums thorny branches, one can attract (anything).

If the very wrathful one lights the fire with the same firewood, and bums red flowers and fruits, he can gratify the world. If the angry yogin lights the fire with the same firewood, and bums the rust of iron, he can attain the vq/ra-bond.

252. The above quotadon is a summarised and modified translation. In order to obtain more detailed and slightly different information about the homa rite in English, see “Jyotirmahjari: Abhayakaragapta's Commentary on Homa Rites” (pp. 206~236) translated from the Tibetan by Tadeusz Skorupski.

253. Chinese 2 reads: “the auspicious firewoods mixed with honey”.

254. Chinese 2 reads: “the auspicious firewoods mixed with honey”. 255. S. p. 240-4-11, T. p. 248-5-2-5, C2. p. 387-1-8-15.

256. Sanskrit reads: “sea-salt”.

257. Chinese 2 reads: “the Vajrasattva-bond”.


If he lights the fire with the same firewood with a wellconcentrated mind, and burns the fruit of bitter taste, he can generate killing out of wrath instantly.

(c) If the wise one in wrath lights the sacrificial fire with the firewood of sour taste, and bums fruits and flowers of the tamarind tree (dmla),259 this is the supreme subjugation. If one lights the fire with the same firewood with a wellconcentrated mind, and bums the fruits of the mango tree (kama) in wrath, one can assume any shape at will.

If one lights the sacrificial fire with the same firewood, and bums a bunch of flowers of the ‘invisible’ tree (adrsya), one becomes invisible at will.

If one lights the fire with the same firewood with a wellconcentrated mind, and bums the flowers of the ‘sky-creeper’ tree (dkdsavalli), one can fly in the sky.

(d) If the wrathful one lights the fire with the firewood of bitter taste261 with a well-concentrated mind, and bums the flower of the vajra (vajra-puspa262), he can control the vajra.

If the very wrathful one lights the fire with the same firewood, and bums the sauri263-g&iimd of someone, he can control that man. If the wrathful one lights the fire with the same firewood with a well-concentrated mind, and bums the garland of Vajrapani, he can control (Vajrapani).

If the very wrathful one lights the fire with the same firewood, and bums monastic robes, he can control the Buddha264 instantly,”

This homa rite is performed together with deity-ycga. Thus, the sddhaka generates the wrathful thought in his mind by means of joining in Vajrahumkara or his own deity, and then executes the homa rite on the mandala. In section (a), the first segment refers to the homa rite of pacification, and the other three segments refer to the homa rite of acquisition of prosperity, longevity and protection respectively. In section (b), the first two segments refer to the homa rite of attraction, and the other two segments refer to the homa rite of destruction. In section (c), the first segment refers to the homa rite of subjugation, and the other three segments explain the

25S. S. p. 241-1-8, T. pp. 248-5-6-249-1-1, C2. p. 387-1-23-2-5.

Chinese 2 reads: “one can destroy all evils instantly”.

259. Tibetan reads: “fruits and leaves of sour taste”. Chinese 2 reads: “flowers and fruits of sour taste”,

26°. S. p. 242-1-8, T. p. 249-1-1-4, C2. p. 387-2-11-18.

The above sections, (a), (b) and (c) are also translated into English by David Snellgrove, Indo-Tibetan Buddhism, p.

26 f Sanskrit adds: “giving vigour”.

262. Yamada Isshi interprets the vajra-puspa as referring to the sesame-blossom. Yamada Isshi, STTS, S. p. 243, footnote.

263. Chinese 2 omits: “s a u r i Yamada Isshi regards the sauri as the name of a plant. Yamada Isshi, STTS, S. p. 243, footnote.

264 Chinese 2 omits: “the Buddha”. 265. S. p. 243-1-8, T. p. 249-1-5-8, C2. p. 387-2-24-3-3.


methods of gaining supernatural powers by means of using the homa rite of pacification. Section (d) explains the methods of controlling even Vajrapani or the Buddha by means of using the homa rite of subjugation.


4. Secret Rite


“While staying with a (visualised) beloved woman (all night), if one inserts and moves the black pigment (ahjana) into her orifice (bhaga), and then smears there with that black pigment {ahjana), one can subdue (all deities).

If one inserts the red arsenic (manahsild) into her orifice and covers it with the vajra-bond, one can gain four attainments due to the four modes.

If one inserts the yellow pigment (rocand) into her orifice and presses it together with the secret fist, one can become identical to Vajradhara (or Vajrahumkara) at the time of the site (where the pigment has been inserted) radiating.

If one inserts the golden coloured perfume-powder {kuhkuma) into her orifice and places (the mudrd ol) Sattvavajri at that orifice, one can become identical to Vajradhara (or Vajrahumkara) at the time of its radiating.”

Before performing this rite the sddhaka meditates on the subtlQ~vajra and visualises his female-shaped deity chosen in this mandala while reciting the relevant mantra and forming the relevant mudrd. Thus, a beloved woman in the first segment refers to the sddhaka's female deity drawn in this mandala. Anandagarbha regards the word orifice (bhaga) as a lotus (padma)267 which symbolises the female sexual organ. Both Sakyamitra and Anandagarbha interpret the four modes in the second segment as referring to four actions, i.e. moving, wanning, rising smoke and radiating, and also the four attainments as referring to four supernatural powers, i.e. subjugation (of deities), nimble-footedness, invisibility and flying.


5. Conclusion


In order to generate the nature of wrathful Vajrapani and conquer all evil beings the Vajrakula Karmamandala describes the means of worship or offering. Thus, the worship is manifested in the mandala as female deities worshipping Vairocana and the four Humkaras, the basic method of which is similar to that of the Vajrakdrya Karmamandala (ch. 4). As a practice of worship the rite of homa or burnt offering is introduced for various attainments. The peculiar characteristic of this homa rite in this mandala, which is explained only in this chapter of the STTS, is that the sddhaka performs the homa rite in union with his deity.


266 S. p. 244-2-9, T. p. 249-2-1-3, C2. p. 387-3-12-19.

267. Tattvdloka, TTP. Vol. 71, No. 3333, p. 281-1-8.

268. Kosaldlamkara, TTP. Vol. 70, No. 3326, p. 303-2-4—5; Tattvdloka, TTP. Vol. 71, No. 3333, p. 281-3-3-4.


Chapter 10. Epilogue of the Trilokavijaya


Chapter 10 of the Sanskrit STTS serving as an epilogue of the Trilokavijaya explains two mandalas and related rites, i.e. Trilokavijaya Caturmudrdmandala and Vajrahumkara Mandala. Like the Vajrasiddhi Caturmudrdmandala (ch. 5-A), the Trilokavijaya Caturmudrdmandala is classified as the catur-mudra-mandala, and the Vajrahumkara Mandala whose name is not specified in the STTS is classified as the eka-mudra-mandala like the Mahdydnabhisamayamandala (ch. 5- B).


A. Trilokavijaya Caturmudrdmandala


The Trilokavijaya Caturmudra mandala has the function of assembling and accomplishing the essence of die previous four mandalas of the Vajra-family in one mandala. Thus, this mandala consists of the image of Vairocana and the four Humkaras' symbols representing the previous four mandalas.


A-1. Structural Analysis o f the First Part o f Chapter 10


(1) The first section of the first part of chapter 10 of die STTS starting with the words, “Then, the Lord once again entered the samadhi called the Mudra- Empowerment of die Vajra-Pledge of all the Tathagatas”270 and ending with the words, “HUM VAJRA KARMAGRI K R T \27] provides an exposition of the fifth samadhi of the supreme mandala-king of the Trilokavijaya Caturmudrdmandala. This samadhi-section enumerates the names of five deities constituting this mandala expressed in the form of mantra, i.e. Sarvatathagatavajrasamaya (as Vairocana), Vajri (as Vajrapani), Bhrkud (as Vajragarbha), Padmavajri (as Vajranetra) and Vajrakarmagri (as Vajravisva).

(2) The next section starting with die words, “Then, the Mahabodhisattva272 Vajrapani”273 and ending with the words, “One should perform the extensive rite”,274 gives a concise description of the mandala-rites of the Trilokavijaya Ca turmudrdmanda la.

(3) The next section starting with the words, “After (the pupil) enters (the mandala), (the master) should teach the knowledge of the secret mudrd of the

269. S. pp. 246-250-5 of chapter 10, T. p. 249-2-7-4-8, C2. p. 388-1-5-3-8.

270. at ha bhagavan punar api sarvatathdgatavajrasamayamudradhistdnan ndma samddhim samdpadya: S. p. 246-2, T. p. 249-2-7-8, C2. p. 388-1-6.

271. S. p. 247-6, T. p. 249-3-3, C2. p. 388-1-21.

Tattvdloka reads: “HUM VAJRA KARMA GRJ GRDT Tibetan reads: “HUM VAJRA KARMAGRI KAT."

272. Tattvdloka omits: “M a h d Chinese 2 reads: “Bodhisattva Mahasattva”. 273. atha vajrapanir mahabodhisattvah: S. p. 247-7, T. p. 249-3-3, C2. p. 388-1-22. 274 vidhivistaran h'tva: S. p. 248-2, T. p. 249-3-6, C2. p. 388-1-28-29.


Caturmudrdmandala”275 and ending with the words, “HO VAJRA KAMA”,

explains the attainment-knowledge of the Trilokavijaya Caturmudrdmandala. (4) The final section starting with the words, “Then, one should teach correctly the four samaya-mudrds, i.e. a three-pronged lance signified by the vajra and (three) other symbols,277 together with the extensive rites”278 and ending with the words, “One should place the tips of the forefingers”279 explains the samaya-mudrd of the Trilokavijaya Caturmudrdmandala. This section also includes the description of the dance-offering-worship (nrtyopaharapujd). This description is divided into four segments, which refer to four dance-offerings, i.e. nrtya-oifQnng, pratinrtyaoffering, upanrtya-offering and jhdnanrtya-offQring, quoted from the four danceofferings out of sixteen dance-offerings described in the Krodhaguhya Mudrdmandala (ch. 7). In addition, these four dance-offerings refer to the mudrds of four representative and wrathfiil Mahabodhisattvas.

A-2. Structure o f the Trilokavijaya Caturmudrdmandala “The supreme Mudrdmandala281 (of the Pri/ra-family) has the basic design of the Vajradhdtu {Mahamandala) and is called ‘Krodhavajra (Wrathfiil Vajra)’

The whole mandala should be designed in conformity with tire {Trilokavijaya) Mahamandala. One should draw Trilokavijaya (or Vajrahumkara) and the rest on all sides of the Buddha (Vairocana).”

This description shows that this mandala consists of Vairocana and the four Humkaras, but it is not clear whether the four Humkaras refer to their images or to their symbols. Both Anandagarbha284 and Sakyamitra285 regard them as symbols and explain that the image of Vairocana abiding in meditation is drawn at the centre of the mandala and in the positions of the four Humkaras are drawn their four characteristic symbols, which are manifested in the Krodhaguhya Mudrdmandala (ch. 7). These four symbols are: (1) a blazing five-pronged vajra of Vajrahumkara


275. pravesya caturmudrdmandalam guhyamudrdjnanam silcsayet: S. p. 248-2-3, T. p. 249-3-6, C2. p. 388-1-29-2-1.

276. S. p. 249-5, T. p. 249-4-3, C2. p. 388-2-21.

Tattvaloka and Tibetan both read: “HO VAJRA KARMA”.


277. Chinese 2 reads: “four samaya-mudrds, i.e. vajra, gem, lotus and three-pronged lance”.

278. tato yathdvad vajrdladntitrisulamudrddydh catasrah samayamudrah savidhivistarah silisayitva: S. p. 249-6-7, T. p. 249-4-3-4, C2. p. 388-2-22-23.

279. tarjani mukhasusthiteti: S. p. 250-4-5, T. p. 249-4-7~8, C2. p. 388-3-7. Chinese 2 reads: “One should place the forefingers in the mouth.”

2S0. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 139-4-3-5-7.

28h Chinese 2 reads: “Caturmudrdmandala”.

282. Tibetan and Chinese 2 both read: “Vajralcrodha”.

283. Chinese 2 reads: “the image of the Buddha”.

S. p. 247-9-13, T. p. 249-3-4-5, C2. p. 388-1-24-27. 284 Tattvdloka, TTP. Vol. 71, No. 3333, p. 283-1-1-7. 285. Kosaldlamkdra, TTP. Vol. 70, No. 3326, p. 304-1-5-6.


above a three-pronged lance, (2) a five-pronged vajra whose top has a wishgranting- gem in the centre of an eight-spoked wheel, (3) a sixteen-petalled lotus above an eight-petalled lotus, which is marked with a vajra, and (4) a crossed vajra surrounded by minute crossed vajras above Indra's three-pronged vajra, In addition, these symbols are drawn on their characteristic seats or vehicles, i.e. elephant, horse, peacock and Garuda respectively. Thus, this mandala consists of the image of Vairocana and the four symbols of the four Humkaras of the four directions. However, Amoghavajra argues that this mandala consists of twenty-one deities286 excluding sixteen wrathful Mahabodhisattvas out of the main thirty-seven deities.


A-3. Attainment-Knowledge


The attainment-knowledge of the Trilokavijaya Caturmudrdmandala consists of two rites, i.e. the rite of attaining the knowledge of the secret mudrd (guhya-mudrdjnana) and the rite of attaining the knowledge of the secret and concealed mudrd (guhya-rahasya-mudra-jhdna). The guhyamudrajndna describes the means of attaining die nature of the four Humkaras symbolising the previous four mandalas and the guhyarahasyamudrajhana describes the means of attaining the ultimate success (isiddhi).


a. Guhyamudrajnana


“(a) If one draws one's catur-mudra-mandala (in one's mind), and abides there together with a woman while reciting (the appropriate spell of) the pure essence (,suddha-dharmata),287 one attains the siddhi.

(b) If one draws one's catur-mudra-mandala, and looks at the woman with passion while reciting the pure essence, one attains the siddhi.

(c) If one draws one's catur-mudra-mandala, and kisses the beautiful woman while promoting the pure essence, one attains the siddhi.

(d) If one draws one's catur-mudra-mandala, and embraces her in union while reciting the pine essence, one obtains the perfect siddhi.

In this case, these are (the mantras of) the mudras of the pure essence:-


'OMSARVA-TATHAGATA VlSUDDHA-DHARMATEHOW. 'OM VAJRA VI&UDDHA-DRSTI JJAW . 'OMSVA-BHAVA VlSUDDHA-MUKHEHUM.


286. OEAVS, TSD. Vol. 18, No. 869, p. 285-2-18.

2S7. In this section, Chinese 2 regards the term suddha-dharmata as an adjective modifying the term catur-mudra-mandala, and translates: “if one draws by oneself the catur-mudrasuddha- dharmata-mandala according to the instruction, and talks with one's partner”.


'OM SARVA-VI&UDDHA-KAYA-VAN-MANAH KARMAVAJRl HAN*:™

In this context, Sakyamitra289 interprets the term woman as symbolising samayamudrd. He explains that the phrase ‘abiding together with a woman5 means ‘binding the appropriate samaya-mudra\ In contrast, since Anandagarbha290 understands the above rite within the context of Anuttarayoga, he explains it as ‘having an aspiration for a woman by means of the maha-mudra (bodily image) of Vajrahumlcara5 and, as a result, the sddhaka becomes identical to Vajrahumkara. In addition, through the ritual of paragraphs (b), (c) and (d), the sddhaka becomes identical to Ratnahumkara, Dharmahumkara and Karmahumkara respectively. Concerning the words pure essence {suddha-dharmata), Sakyamitra literally inteiprets ‘reciting the pure essence5 as ‘reciting that all the dharmas are pure by nature5. However, Anandagarbha explains each of the above four spells as the pure essence corresponding to each of the respective four paragraphs.

In order to give a better understanding of the four classifications of the tantras, i.e. Kriyd, Caryd, Yoga and Anuttarayoga, a metaphor is used for the degrees of courtship, i.e. laughing for Kriyd tantras, mutual gazing for Caryd tantras, holding hands for Yoga tantras, and union for Anuttarayoga tantras.191 The above description shows the origin of this metaphor, i.e. abiding, looking, kissing and intimate embracing. However, the purpose of this metaphor here is to guide the sddhaka to attain siddhis effectively and quickly. In this rite each stage produces siddhi but the fourth and final stage particularly produces the perfect siddhi (sarvasiddhi).


b. Guhyarahasyamudrajhana


“If one enters this mandala, and then gratifies the best women292 with the five kinds of sensual enjoyments (kamasadguna), one attains the supreme success (siddhi).”

Sakyamitra294 regards the five kinds of sensual enjoyments as form, sound, smell, taste and touch, all of which arise in the mind between a deity and a sddhaka, and he explains that with these five elements the sddhaka gratifies and worships his well-concentrated mind. He adds that the mudras desired are symbolised in this rite as women. Anandagarbha295 also explains that the women indicate the mudras of


288. S. p. 248-4-16, T. p. 249-3-6-4-2, C2. p. 388-2-2-16.

289. Kosaldlamkdra, TTP. Vol. 70, No. 3326, p. 304-2-2-4-2.

290 Tattvdloka, TTP. Vol. 71, No. 3333, p. 283-3-2-4-7.

291. Alex Wayman, “Buddhism: Esoteric Buddhism”, The Encyclopaedia o f Religion, Vol. 2, p.

472-482; Joseph M. Kitagawa and Mark D. Cummings (ed.), Buddhism and Asian History, p. 244.

292 Sanskrit reads: “the wives of others”. Tattvalolca reads: “the best women of others”.

293. S. p. 249-2-3, T. p. 249-4-2-3, C2. p. 388-2-18-19.

294 Kosaldlamkdra, TTP. Vol. 70, No. 3326, p. 304-4-5-6.

295. Tattvdloka, TTP. Vol. 71, No. 3333, p. 283-5-2-8.


Vajrahumkara and the others. However, differing from Sakyamitra, he regards the five kinds of sensual enjoyments as the five Wisdoms of the five Tathagatas. This rite can be interpreted as the sddhaka drawing the Trilolcavijaya Caturmudrdmandala in his mind and entering this mandala according to the instruction. Then, if he visualises five deities, i.e. Vairocana and the four Humkaras, representing the five Tathagatas' Wisdoms, and imites them with the desired deities chosen from one of the previous four mandalas and visualised in female form, he gains all the attainments mentioned in the previous four mandalas.


A-4. Conclusion

The Trilokavijaya Caturmudrdmandala consists of the image of Vairocana and the four Humkaras1 symbols representing the previous four mandalas of the Vajrafamily as well as the four mudras of wrathfiil Vajrapani, i.e. the Body, Mind, Speech and Action of wrathful Vajrapani. These four Humkaras1 symbols refer to the four female deities, namely, the four Paramitas of the Vajra-family who help the sddhaka to generate the four Humkaras in his mind. Thus, the purpose of this mandala is to guide the sddhaka to visualise the four Paramitas by means of meditating on the four symbols and to realise the nature of the four Humkaras by means of the four visualised Paramitas.


B. Vajrahumkara Mandala


The Vajrahumkara Mandala296 is revealed for the benefit of those who wish to conquer all evil beings in the simplest way. Since this mandala focuses on only a single deity, i.e. wrathfiil Vajrapani or Vajrahumkara, who predominates over the previous five mandalas of the Vajra-family, Vajrahumkara occupies the centre of the mandala.


B -l. Structural Analysis o f the Second Part o f Chapter 10


(1) The first section of the second part of chapter 10 of the STTS, which refers to the paragraph “Then, the Mahabodhisattva297 Vajrapani once again pronounced the wrathful pledge of his vq/><3-pledge298: iHUAPT,299 provides an exposition of the second samadhi called the supreme mandala-king of the Vajrahumkara Mandala, i.e. the samadhi of assembling and blessing Vajrahumkara or wrathful Vajrapani.

(2) The next section starting with the words, “Then, he explains this mandala”300 and ending with the words, “Then, one should perfonn the extensive rite of all the

296. S. pp. 250-6-252-3 of chapter 10, T. p. 249-4-8-5-6, C2. pp. 388-3-9-389-1-3.

297. Tattvdloka and Chinese 2 read: “Bodhisattva Mahasattva”.

29S. Chinese 2 reads: “the vidyd of the va/ra-wrath-pledge of his family”.

2" . at ha vajrapanir mahabodhisattvah punar apimam svavajrasamayab'odhasamayam abhasat hum\ S. p. 250-6-8, T. p. 249-4-8, C2. p. 388-3-9-11.

300. athasya mandalam bhavati: S. p. 250-9, T. p. 249-4-8, C2. p. 388-3-12.


attainments in this secret mandala”,301 briefly explains the mandala-ritQS of the Vajrahumkara Mandala.


(3) The next section starting with the words, “One should explain the knowledge of the secret mudrd of Vajrahumkara”302 and ending with the words, “HUM VAJRA SAMAYA HUM”,303 explains the attainment-knowledge which consists of two rites of the Vajrahumkara Mandala.

(4) The next section, which refers to the paragraph “Then, (the master) should teach (the pupil) the binding of four304 mudras so that the attainments are realised. As in the mandala, the same attainment is realised in all the images which are drawn on cloth305 or whatever else.”,306 means that if the sadhalca performs the rite of binding the four mudras of the Vajrahumkara Mandala, he can gain all the attainments described in the previous mandalas of the Trilokavijaya. The detailed information about the four mudras of Vajrahumkara has already been provided in the Trilokavijaya Mahamandala (ch. 6).

(5) The final section starting with the words, “Then, Vajrapani proclaimed this to all the Tathagatas”307 and ending with the words, “This well-spoken sutra is the supreme Vajrayana, the secret of all the Tathagatas, and the compendium of the Mahayana”,308 constitutes the closing section of the Trilokavijaya, which includes a verse praising Vajrahumkara by all the Tathagatas.


B-2. Structure of the Vajrahumkara Mandala


According to the STTS, Vajrapani pronounces a seed-syllable (bija): *H U M \ which is known as the wrathful pledge of his vo/ra-pledge and then explains the following Vajrahumkara Mandala:-

“The supreme Guhyamandala (of the Fay'ra-family) has die basic design of the Vajradhdtu {Mahamandala) and is called ‘ Vajrahumkara ( Vajra-hum-performer) ’

301. athatra guhyamandale sarvcisiddhi vidhivistaram h'tvd: S. p. 251-1, T. p. 249-5-2-3, C2. p. 388-3-19-20.

Tibetan reads: “Then, one should perform all the extensive rites (of this secret mudrdmandala).”

302. vajrahumkdraguhyamudrdjhdnam udirayet: S. p. 251-2, T. p. 249-5-3, C2. p. 388-3-20.

Chinese 2 reads: “Vajratrilokavijaya” instead of “Vajrahumkara”,

303. S. p. 251-11, T. p. 249-5-5, C2. p. 388-3-29.

304. Only Tibetan omits: “four”.

305. Tattvdloka and Tibetan both read: “in those drawn on cloth or whatever else, and also in all the forms made of cast or whatever else”.

306. tato yathavan mudrabandhacatustayam siksayet tataiva siddhayah sambhavantiti yathd mandate evam patadisu likhitandm sarvapratimasv api samdnyd siddhir iti: S. p. 252-1-3,

T. p.' 249-5-5-6, C2. p. 389-1-1-3.

307. atha vajrapdnih sarvatathdgatdn dhuyaivam aha: S. p. 252-4, T. p. 249-5-7, C2. p. 389-1- 4-5.

308. subhasitam idam sutram vajraydnam anuttaram saiwatathagatam guhyam mahaydndbhisamgraham iti: S. p. 252-11-13, T. p. 250-1-2, C2. p. 389-1-12-13.

309. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 139-5-7-140-2-4. 310. Chinese 2 reads: “Trilokavijaya” instead of “Vajrahumkara”.


One should draw the external mandala311 in conformity with the {Trilokavijaya) Mahamandala. In its centre one should draw Vajradhara312 correctly on the lunar-disc,313 who has the bodily image {maha-mudra) of Vajrahumkara gripping a vajra with his hands and assuming the pratyalfdha posture.314 His colour and form should be drawn according to the instruction.”

According to the Trilokavijaya Mahamandala (ch. 6), the mandala of the Tathagata Aksobhya positioned to the east of Vairocana is called the mandala of Vajrahumkara. Thus, the above mandala deals with only the central deity positioned in the centre of the eastern quarter of the Trilokavijaya Mahamandala, that is, Vajrahumkara. The detailed image of Vajrahumkara has already been described in the Trilokavijaya Mahamandala. Anandagarbha comments that Vajrahumkara in this mandala is drawn as either having four faces and eight arms or having one face and two arms.316 Differing from Sakyamitra and Anandagarbha, Amoghavajra argues that this mandala contains seventeen deities317 referring to Vajrahumkara, four Paramitas, eight Offerings and four Door-guardians.


B-3. Attainment-Knowledge


The attainment-knowledge of the Vajrahumkara Mandala is two-fold, i.e. tire knowledge of the secret-mudra of Vajrahumkara ( Vajrahumkara31 %-guhya-mudrdjhdna), which refers to the method of attaining the samaya-mudra of Vajrahuinlcara, and the knowledge of the concealed evocation-mwc/ra of Vajrahumkara {Vajrahumkara™-rahasya-sddhana-mudrd-jndna),320 which refers to the method of attaining the mahd-mudrd of Vajrahumkara.


a. Vajrahumkaraguhyamudrdjndna


“One enters this mandala and forms (the samaya-mudra of) Trilokavijaya with one's forefinger. Then, if one puts it into the

31 f Only Tibetan reads: “the whole mandala”.

312. Sanskrit reads: “Vajrin”. It seems that the Sanskrit STTS uses in this context the term “Vajrin” instead of “Vajradhara”, both of which have the same meaning, in order to keep the traditional Indian metre.

Anandagarbha interprets it as “the vajra of Vajrahumkara”. (Tattvdloka, TTP. Vol. 71, No. 3333, p. 287-1-3).

313. Anandagarbha comments that the lunar-disc is drawn on the elephant. ( Tattvdloka, TTP. Vol. 71, No. 3333, p. 287-1-4).

314 Chinese 2 reads: “In the centre, according to the instruction, one should draw a Vajra positioned on the lunar-disc, and this Vajra is Trilokavijaya who holds the mahd-mudrd according to the rite, and assumes thepratydlidha posture.”

315. S. p. 250-10-15, T. p. 249-4-8-5-2, C2. p. 388-3-13-18.

316. Tattvdloka, TTP. Vol. 71, No. 3333, p. 287-1-6-8.

317. OEAVS, TSD. Vol. 18, No. 869, p. 285-2-21.

3 1 S . Chinese 2 reads: “ vajra-trilokavijaya’’.

319. Chinese 2 reads: ‘ ‘ vajra - tri Io ka v ijaya ’ ’.

3 2 0 . Tibetan reads: ‘‘ Vajrah fankara-mudra-jndna”.


orifice (bhaga) and performs the rite, one attains success in all actions.

Here is the sddhana-hrdaya:-


HUM VAJRA SAMAYA K R T T ^


Sakyamitra explains that either one makes the vajra-fist with one's left hand and makes the form of the Trilokavijaya's pointing finger with one's right forefinger; or one makes the vajra-fist with one's right hand and makes the form of the Trilokavijaya's pointing finger with one's left forefinger. Then, if one puts it into the orifice while reciting the mantra and meditating on Vajrahumkara, one attains the success.322 Neither Sakyamitra nor Anandagarbha provides any comment about the term orifice {bhaga) in this rite. However, it can be interpreted as symbolising the sexual organ of his female-shaped deity visualised by the sddhaka. This is the method of accomplishing all actions described in the previous mandalas of the Trilokavijaya by means of forming the samaya-mudra of Vajrahumkara.


b. Vajrahumkdrarahasyasddhanamudrdjhdna


“One enters the mandala duly and concentrates on the supreme bodily image {maha-mudra). Being united with Vajrahumkara, one can become a performer of all actions.

Here is the sddhana-hrdaya:- cHUM VAJRA SAMAYA HUM\

This is the method of being identical to Vajrahumkara by means of binding the mahd-mudrd of Vajrahumkara, which refers to the sddhaka's visualisation and evocation of Vajrahuinlcara.


B-4. Conclusion


Both the Mahaydndbhisamayamandala (ch. 5-B) and the Vajrahumkara Mandala are regarded as the eka-mudra-mandala and are represented by one single deity, Vajrasattva or Vajrapani. However, in the Vajrahumkara Mandala, Vajrasattva or Vajrapani has a wrathfiil image and a different posture, so he is named Vajrahumkara and occupies the centre of the mandala which is the position of Vairocana. Since this mandala has only the image of Vajrahumkara, the function of this mandala is to guide tire sddhaka in realising the nature of Vajrahumkara who dominates all tire six mandalas of the Vajra-family and to gain all the attainments described in the previous five mandalas. Thus, if tire sddhaka becomes identical to Vajrahumkara through this mandala, he can subjugate all evil beings and eliminate all lands of spiritual obstacles and defilements by means of the power of Vajrahumkara.

32t. S. p. 251-3-6, T. p. 249-5-3-4, C2. p. 388-3-21-24.

322. Kosaldlamkdra, TTP. Vol. 70, No. 3326, p. 305-2-5-8.

323. S. p. 251-8-11, T. p. 249-5-4-5, C2. p. 388-3-26-29.


Chapter 11. Trilokacakra Mahamandala


Chapter 11 of the STTS214 provides an exposition of the Trilokacalcra Mahamandala which constitutes the supreme mahd-mudrd. While the Trilokavijaya Mahamandala (ch. 6) is the mandala of conquering and converting all evil beings in the three realms, the Trilokacalcra Mahamandala is the mandala of turning the Dharma-wheel for all evil beings, especially the external- Vajrafamily, who have been already conquered and converted. Amoghavajra325 provides the following outline of this chapter: - “For the benefit of the assembly of the external- Fh/ra-family, (Vajrapani) explains four mandalas. Every (member of the external- Fq/ra-family) explains both its own mantra and mudrd, and presents them to the Buddha. For their sake, the Buddha (as Vajrapani) explains the {Trilokacakra) Mahamandala by tire (first) command {djhd) (of Vairocana). It contains (the main) thirty-seven deities. (This section of the tantra) explains the rite of guiding the pupil to enter (the mandala). For the benefit of the pupil, the text explains the rites of employing the external- Vajrafamily. In this, it explains the mantras and mudras of both the great Buddha-crown {usmsa) and the glory-assembled-Buddhacrown (tejorasi),326 which can be understood as the method of reciting a monosyllabic word-crown-wheel.”327


1. Structural Analysis o f Chapter 11


(1) The first section of chapter 11 of the STTS starting with the words, “Then, the Lord all the Tathagatas once again gathered together in a conclave”328 and ending with the words, “(2M VAJRA-KARMA SADHAYA129 KRT330”,331 provides an exposition of the second samadhi called the supreme mandala-king of the


324. S. chapter 11, pp. 253-280, T. pp. 250-1-3-252-2-4, C2. pp. 389-1-14-393-3-15.

325. OEAVS, TSD. Vol. 18, No. 869, p. 285-2-22-26.

326. This is one of the incarnations of Sakyamuni. According to the D oC (p. 113), there are five heads o f Buddha. The first is the white canopy (sitdta-patra) over his head, which is not only the symbol of pure mercy but also one of the titles of Avalokitesvara, The second is the victorious ijaya) head of Buddha, which is the symbol of wisdom and is manifested as a sword. The third is the all-conquering ivijaya) head of Buddha, which is the symbol of unexcelled power of preaching and is manifested as a golden wheel. The fourth is the gloryassembled {tejorasi) head of Buddha or the fire-accumulated head of Buddha, which is the symbol o f authority and is manifested as an insignia. The fifth is the hindrance-eliminated (vildrna) head of Buddha, which is the symbol of the destruction o f all delusion and is manifested as a hook.

327. It is elcdlcsara-usnisa-calcra in Sanskrit. This is the first seed syllable ibhruni' which Mahavairocana uttered, after having entered into the first samadhi.

32S. atha bhagavantah sarvatathdgatdh panar api samdjam apadya: S. p. 253-2, T. p. 250-1-3, C2, p. 389-1-15’.

329. Tibetan reads: “SAMAYA”.


330. Tattvdloka reads: 11KR”.

•331. S. p. 267-4, T. p. 251-1-5-6, C2. p. 391-2-14-15.


Trilokacalcra Mahamandala. The introduction of this section includes a stoiy about Mahesvara's resuscitation and consecration.

(2) The next section starting with the words, “Then, 332Vajrapani”333 and ending with the words, “in conformity with the Mahamandala of the Vajra-samaya (referring to the Trilokavijaya Mahamandala:)”,334 provides the detailed mandalarites of the Trilokacalcra Mahamandala.

(3) The final section starting with the words, “Then, one should teach the binding of the maha-mudrds”335 and ending with the words, “the mudras of the servant”,336 explains the mudra-htQ as the means for the attainments, focusing on only the maha-mudrds of the Trilokacalcra Mahamandala

2. Introductory Scene: Mahesvara's Resuscitation and Consecration The story338 of Vajrapani's victory over Mahesvara described in the opening section of the Trilokavijaya Mahamandala is continued here in the opening section339 of the Trilokacakra Mahamandala. In the section of the Trilokavijaya Mahamandala, the story ends with Vajrapani treading down Mahesvara with his left foot and Uma with his right foot, and from the contact with the sole of Vajrapani's foot, Mahesvara, while meditating, reaches the level of the Tathagata called Bhasmesvaranirghosa (Soundless Lord of Ashes) not in the Akanistha heaven, but in the realm known as Bhasmacchatra (Umbrella of Ashes) which is the realm of the dead. In this section, the story resumes with Mahesvara still under Vajrapani's foot. In this part of the story Mahesvara's consciousness returns from the realm known as Bhasmacchatra while all the Tathagatas recite the hrdaya and bind the mudrd?40 Afterwards, by reciting the hrdaya and binding the mudrd?41 which have been performed by Vajrapani, Mahesvara is released from under the


332. Tibetan and Tattvalolca both add: “Lord”. Chinese 2 adds: “Bodhisattva Mahasattva”,

333. atha vajrapdnir: S. p. 267-5, T. p. 251-1-6, C2. p. 391-2-16.

224.yathd vajrasamayamahamandala iti: S. p. 275-11-12, T. p. 251-4-8, C2. p. 393-1-13.

335. tato mahdmudrabandham silcsayet: S. p. 275-13, T. p. 251-4-8-5-1, C2. p. 393-1-13-14.

336. cetamudrdh: S. p. 280-4, T. p. 252-2-3, C2. p. 393-3-15.

Chinese 2 omits.

337. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 140-2-5-3-8.

338. S. pp. 157-169, T. pp. 239-4-6-241-4-7, C2. pp. 370-1-22-372-3-2.

339. S. pp. 253-257-6, T. p. 250-1-3-3-2, C2. p. 389-1-14-3-14.

34°. According to the equivalent section of the STTS, the hrdaya of summoning the consciousness of the dead {mrtavijndnakarsanahrdaya) is “QM VAJRASATTVA HUM JJAH” and the mudrd used for the same purpose is “One makes the secret-hook steadfastly and should stretch out the tips (of the fingers) equally. If one places it on the forehead of the dead, the dead one will regain his life.”

341. In this section, the hrdaya used by Vajrapani is known as ‘foot-lifting’ (pdda-uccdra): “OM VAJRA M U H \ The accompanying mudrd is described as follows:- “Having raised the fingers of the vajra-wrath, one should fasten the tips of both sides. Having turned round the two vajras, one should lift them from below.” (Chinese 2 reads differently: “One raises equally the fingers of the vajra-wrath and makes them firmly without fastening the surfaces of the fingers. One turns them round and forms the two vajras. Then, one lifts them gradually from below to the forehead,”).


sole of Vajrapani's foot and is resuscitated. He revives by the empowerment of all the Tathagatas and is consecrated as ‘crown prince (yauvardjyay both for the welfare of all living beings and for converting evil beings. Then, once again, by reciting the hrdaya and binding the mudrd,342 Vajrapani generates Tathagata Candrottara from the sole of his foot. This Tathagata Candrottara enters and consecrates the forehead of Mahesvara. While resting on the left side of Vajrapani, Mahesvara, who is now converted to become a friend of Vajrapani, receives from all the Tathagatas not only a vajra-lance into his hand, but also the vajra-name of Vajravidy ottama.

As both David Snellgrove and Yamada Isshi343 point out, two vajra-names given to Mahesvara are used in this section of the STTS344 at the same time, i.e. Vajravidyottama and Krodhavajra. Sakyamitra explains that it is called Vajravidyottama because of the knowledge originating from beneath the Vajrapani's foot, and it is called Krodhavajra because of the manifestation of self-power.


3. Mandala Rites


a. Structure o f the Trilokacalcra Mahamandala


One of the significant characteristics of this mandala is that the sixteen Hindu deities known as the external- Ho/ra-family replace the sixteen wrathful Mahabodhisattvas of the Trilokavijaya Mahamandala, and occupy their positions in the mandala. The rest of the Hindu gods and goddesses are also present in this mandala.“


(a) The supreme Mahamandala (of the external-Kyra-family)


resembles the Dharmacalcra {Dharma-wheel). One should measure out the whole mandala. Here is the measuring-/zrt/yya:

OM VAJRA SUTRAKARSAYA SARV.A-MAND.ALAN H U M .

One should insert the peg made of the acacia catechu (khadira) in the centre of the mandala. Then, having made a double thread, one should measure with it. Here is the psg-hrdaya:

OM VAJRA KILA KlLAYA SARVA-VIGHNANBANDHAYA HUM P H A T .

342. The hrdaya, in this section, is known as the candrapada (moon-foot) which is regarded as the mudrd of the thought of enlightenment of all the Tathagatas:-


OM CANDROTTARESAMANTABHADRA KIRANl MAHAVAJRINIHUM”.

The accompanying mudrd is described as follows: -

“Having made the va/ra-bond steadfastly, one should raise the little fingers and the thumbs equally. Having raised them equally, one should stretch them forth. This is known as the candraprabha (moon-splendour).”

343. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, pp. 47-50; Yamada Isshi, STTS, S. p. 260, footnote.

344 STTS reads: “Then the Bodhisattva Mahasattva Vajravidyottama while greeting the feet of the Lord Vajrapani, presented his own hrdaya'. ‘OM SUMBHA NISUMBHA VAJRA VIDYOTTAMA HUM PHAT. Then the Vidyaraja Krodhavajra while greeting the feet of the Lord, recited his own hrdaya'. ‘HUM VAJRA &ULA'” (S. p. 260-7-12, T. p. 250-4-5-7, C2. p. 390-2-2-8).

345. Kosaldlamkdra, TTP. Vol. 71, No. 3326, p. 4-5-2~3.


One should measure the w\\QQ\-mandaIa with the four threads joined together. Having approached its outside, and having made in the same way either (thread) double or triple, one should measure the external mandala. The boundary should be drawn in the manner of the spokes of a wheel,346 and the lines of the comers should be also measured out. This is the rite of measuring. Then, following the measured line, one should fill it with pure 347colours. Having duly formed the great vajra-f]ist with the left hand, one should colour (the mandala) at will.348 Here is the colouring-hrdaya: ‘OM VAJRA RANGA SAMAYA H U M .

Then, having sat in the centre (of the mandala), the vay'ra-master should concentrate his thought (on Vajrahumkara), opening the four vajra-gates with his mind. Here is the hrdaya of opening the

gate: ‘OM VAJRODGHATANA SAMAYA PRAVI&A SlGHRAM SMARA VAJRA SAMAYA H OM PHAT.

(b) One should set up an image of the Buddha (Vairocana) upon a four-cornered altar made of gold, silver, or variegated clay.349 One should position the four (chief) 350Mahasattvas in the (four) directions of the Buddha (Vairocana). Vajrapani positioned in presence of (Vairocana) is called Trilokavijaya (alias V ajrahumkara).3 51

Upon casting the thread in or out (of the mandala) with concentrated thought, one should draw a line with the vajraimpulse (vajra-vega).

Having approached the first mandala352 with the vq/’ra-impulse, one should duly draw Vajramaya (alias Mayavajra) and the others (Vajraghanta, Maunavajra and Vajrayudha).

Having approached the second mandala with the vajraimpulse, one should place (four) Vajrakrodhas, namely, Vajrkundali to the east and the others (Vajraprabha, Vajradanda and Vajrapingala).

346. This sentence is translated from the Tibetan. Chinese 2 reads: “All comers should be divided according to the rite.”

347. Chinese 2 inserts: “five”.

348. Tibetan reads: “One should grasp (the painting) by forming the vajra-fist with the left hand according to the rite. Having drawn (the mandala) in the beginning, one (colours) it at will.”

349. Chinese 2 reads: “According to the rule, (a Buddha-throne) made of gold, silver, clay, or painted cloth should be set up towards the four directions. A square Buddha-image should be (positioned) according to instruction.”

The above sentence is duplicated from the construction-section of the maha-mandala of the Trilokavijaya. However, Chinese 2 translates the same two sentences differently. Compare this with the previous Chinese 2 translation in the equivalent footnote.

35°. Chinese 2 adds: “secret”.

351. Chinese 2 reads: “In the centre, one should position Vajrapani who has the image of wrathful Trilokavijaya.”

352. Chinese 2 adds: “towards the east”.

353. Chinese 2 adds: “towards the south”.


Then, (having approached) the four gates (of the internal mandala) with the vq/ra-impulse, one should duly draw all (four Ganapatis354), namely, Vajrasaunda and the others (Vajramala, VajravasI and Vijayavajra).

Having approached the third mandala355 with the va/ra-impulse, one should duly draw Vajramusala and the others (Vajranila, Vajranala and Vajrabhairava).

Having approached the fourth mandala356 with the vq/ra-impulse, one should duly draw (four) Cetas, namely, Vajranlcusa and the others (Vajrakala, Yajravinayaka andNagavajra). Having approached the external mandala with the va/ra-impulse, one should duly place and draw all the consorts357 (of the above gods). Then, one should also draw (four) Door-guardians (i.e. Vajranlcusa, Vajrapasa, Vajrasphota and Vajravesa) at all the wz/ra-gates (of the external mandala).

The above description can be broadly divided into two parts. The first part (section a) provides some basic information about the preliminary performance such as measuring and colouring, and the second part (section b) provides some detailed information on the Hindu deities and their positions in the mandala. Concerning section (a), Anandagarbha explains that without entering this Mahamandala, one cannot obtain the attainments explained in the realms of the sattvas who have already become converted. Such is the purpose of explaining this mandala. The shape of this mandala is round because it resembles the wheel. The peg used in the mandala is made of the acacia catechu and its shape is like a pronged vajra whose top has a five-pronged vajra. In addition, the above peg-hrdaya should be recited one hundred and eight times while this v«/ra-shaped peg is inserted into the centre of this mandala. The five-coloured thread is .also used in the mandala?

Concerning the colouring, for example, the five colours used are white, blue, yellow, red and green. These five colours symbolically represent the five Tathagatas as well as the five elements, i.e. water, fire, earth, space and wind respectively. Concerning section (b), according to Anandagarbha,360 all the details of both Vairocana and four chief Mahasattvas described in the mandala are entirely based upon the description of the Trilokavijaya Mahamandala (ch. 6). Thus, Vairocana is positioned in the centre of this mandala, and the four chief Mahabodhisattvas, i.e. Vajrapani (or Vajrahumkara), Vajragarbha (or Ratnahumkara), Vajranetra (or 354 As Yamada Isshi (STTS, S. 271, footnote) points out, Chinese 2 changes the order. According to Chinese 2, the above section describing the four Ganapatis is placed after the following section describing the four Cetas positioned in the fourth mandala.

355. Chinese 2 adds: “towards the west”.

356. Chinese 2 adds: “towards the north”.

357. Tibetan adds: “beneath the gods”.

358. S. pp. 267-7-273-3, T. p. 251-1-6-3-7, C2. pp. 391-2-18-392-2-18.

359. Tattvdloka, TTP. Vol. 71, No. 3333, p. 289-5-2-5. 360. Ibid., p. 290-2-1-5.


Dhamiahumkara) and Vajravisva (or Karmahumkara), are positioned around Vairocana clockwise starting from the east. Additionally, Mahesvara and Uma are also drawn under Vajrapani's feet like in the Trilokavijaya Mahamandala. However, David Snellgrove361 argues that since Vajrapani dominates this mandala by means of his bodily proportions and fierce aspect, Vajrapani occupies both the centre of the mandala and the eastern quarter. Snellgrove adds that though the position of Vajravidyottama (alias Krodhavajra) is not specified, since he took up his position to the left of Vajrapani as his friend, this can also indicate his position in the mandala, in other words, Mahesvara in this mandala can be positioned to the left of Vajrapani differing from the Trilokavijaya Mahamandala.

As we have already seen in the section of the external- Fti/ra-family (ch. 6), the above five group-names, each of which consists of four Hindu deities, are known as Vidyaraja (or Vidyarajyaka), Vajrakrodha, Ganapati, Duta and Ceta362 (or Cetaka) respectively. The four deities included in the third group Ganapati, i.e. Vajrasaunda, Vajramala, Vajravasi and Vijayavajra, are positioned at the four gates of the internal mandala clockwise starting from the east.

Regarding the consorts occupying the external mandala, the consorts of the first group called Vidyaraja, i.e. Krodhavajragni,363 VajrasauvarnI, Vajrakaumari, Vajrasanti and Vajramusti, and additionally Vajravilaya, who is the consort of the third group member Vajrasaunda, are positioned in the eastern part of the external mandala. The consorts of the second group called Vajrakrodha, i.e. Vajramrta, Vajralcanti, Dandavajragra and Vajramekhala, and additionally Vajrasana, who is the consort of the third group member Vajramala, are positioned in the southern part. The consorts of the fourth group called Duta, i.e. Vajraduti, Vegavajrinl, Vajrajvala and Vajravikata, and additionally Vajravasana, who is the consort of the third group member Vajravasi, are positioned in the western part. The consorts of the fifth group called Ceta, i.e. Vajramukhi, Vajrakali, Vajraputana and Vajramakari, and additionally Vajravasa, who is the consort of the third group member Vijayavajra, are positioned in the northern part.364 As can be seen, the consorts of the third group called Ganapati, i.e. Vajravilaya, Vajrasana, Vajravasana and Vajravasa are individually positioned at the four directions of the external mandala clockwise starting from the east in the same direction as their masters. 361. David Snellgrove, S a rva -T ath agata-T attva-S an grah a, Introduction, pages, 42, 47 & 48. 362. David Snellgrove argues that since the members of the group Ceta, whose literal meaning is ‘servant’, are clearly the door-guardians, they should be positioned at the four gates rather than in the fourth mandala of the northern quarter. (Satva-Tathagata-Tattva-Sangraha, Introduction, p. 48).

363. Only in the case of Uma, Anandagarbha does not use the Tibetan term equivalent for Krodhavajragni in Sanskrit, which is known as Uma's va/ra-name, but uses the Tibetan term dka’-zlog-ma, which is regarded as another name for Uma according to the Tibetan dictionary.

364 T a ttv d lo k a , TTP. Vol. 71, No. 3333, p. 290-3-4-7. 194


b. Entry into the Mandala


(1) In this mandala the vq/'ra-master himself begins with binding the terintirimudrd of Vajrakrodha as in the ritual of the Trilokavijaya Mahamandala. Then he gives the vow-hrdaya to his pupil: “I will generate the vq/ra-pledge-knowledge.365 You should not tell anyone, otherwise you will die without avoiding misfortune and will fall into hell.”

(2) After tins, he explains to his pupil how to bind the terintiri-mudra of Vajrakrodha, and gives him a warning, “If a binder transgress the pledge, this vq/ra-wrath-pledge will consume his family and will destroy his whole body from his head (downwards).”

(3) Then he explains the binding of the karma-mudrd and its hrdaya.

(4) Next comes the water-consecration.

(5) The pupil is then required to enter the mandala covering his face.

(6) After this, the pupil throws the garland into the mandala and removes his facecover.

(7) Then, the vq/ra-master shows the mandala to his pupil. According to tire STTS, while the vq/ra-master reveals this mandala to his pupil, even though his pupil's chosen deity has already been decided, he does not tell his pupil about the chosen deity until his pupil takes his vows with the vow-hrdaya. This is because this mandala consists mostly of Hindu deities and their consorts. Thus, the other three mandalas of the Trilokacalcra also emphasise the vow-hrdaya in the mandala-rite.

(8) Next comes tire consecration of the garland characterised by the vajra-ratna, and then comes the consecration of the karma-vajra. As usual, this ritual concludes with the vq/ra-name-consecration.


4. Mudrd Rites


The STTS367 in this section is divided into two parts: the first part refers to the methods of binding the maha-mudrds of Vairocana, four Humkaras and five Hindu-deity-groups, while the second part refers to the benefits acquired as the result of accomplishing the mudras. The mudras of both the great Buddha-crown (usnisa)36^ and the glory-assembled-Buddha-crown {tejorasi), which have already mentioned by Amoghavajra, are quoted here as examples:-

“(a) Having made the vajra-bond (vajra-bandha) steadfastly, one puts one's thumbs into it, and joins them together. Then, one bends 365. Anandagarbha comments that the wy'ra-pledge-knowledge refers to the mudras of the mandala, that is, the mudras of all the deities included in this mandala from Vairocana in the centre up to the consorts in the external mandala. {Tattvdloka, TTP. Vol. 71, No. 3333, p. 290-5-1-2).

366. S. pp. 273-6-275-12, T. p. 251-3-7-4-8, C2. pp. 392-2-20-393-1-13.

367. S. pp. 275-13-280-4, T. pp. 251-4-8-252-2-3, C2. p. 393-1-13-3-15.


36S. Jaschke, in his Tibetan-English dictionary (p. 433), explains that the Sanskrit term usnisa (Tibetan gtsug) means the conical or flame-shaped hair-tuft on the crown of the Buddha, which in later times was represented as an excrescence of the skull itself.


the forefingers, and covers it with them. This is known as the Being-crown (Sattva-usnlsa).

(b) Having formed the vajra-bond, one raises up the thumbs, the middle fingers, and the Httle fingers. This is known as the gloryassemblage {tejorasi), and it is the glory-assembled Supreme Spirit.

As can be seen, die maha-mudrds in this rite denote not visualising the images of the deities, but maldng the hand gestures {samaya-mudrds) referring to the deities. Paragraph (a) refers to the mudrd of the great Buddha-crown which is called the Being-crown {Sattva-usnlsa) in this rite, and paragraph (b) refers to the mudrd of the glory-assembled-Buddha-crown. In order to understand these two mudra-ritzs effectively, it is necessary to quote a relevant description from the samadhi-SQction of the Trilokacalcra Mahamandala'-

“(c) Then the Lord Vairocana, who is a Tathagata, an Arhat and a perfectly enlightened Buddha, pronounced the following {mantra) of the crown (usnlsa) of all the Tathagatas: ‘OM VAJRASATTVOSNlSA HUM P H A T .

(d) As soon as this was pronounced, the bodily forms of the Lord Vajrapani emerged from the crowns of all the Tathagatas, and became transformed as multi-coloured rays. Having shined forth all the universes, they once again surrounded the forehead of the Lord Vajrapani, and became transformed and established as the glory-assemblage {tejorasi) of the crown of all the Tathagatas. Then from the glory-assemblage there brought forth the following {mantra) of the crown of all the Tathagatas:

OM NAMAS SAR VA TA THAGA TOSNlSA TEJORASI ANA VALOKITA MURDHA HUM JVlLA DHAKA VIDHAKA DARA VIDARA H U M P H A T


Paragraphs (c) and (d) correspond to paragraphs (a) and (b). Thus, in order to accomplish the great Buddha-crown or Being-crown {Sattva-usnlsa), the sddhaka visualises Vairocana while making the hand gesture described in paragraph (a) and reciting the mantra described in paragraph (c). In order to accomplish the gloryassembled- Buddha-crown, the sddhaka places his hands, which are bound according to the instruction described in paragraph

(b), on his crown while reciting the mantra and visualising the image of Vajrapani described in paragraph (d). According to the explanation in the STTS the benefits of these two mudras are that 369. Chinese 2 reads: “One makes the vq/^-bond steadfastly with the two hands, and stretches out the two thumbs, and bends the two forefingers equally. This is the mudrd of the Beingcrown.” 37°. Chinese 2 reads: “One forms the vajra-bond again, and one raises up the two thumbs and middle fingers. This is named as the mudrd of the glory-assembled crown, that is, the supreme pledge of the glory-assembled Buddha.

371. S. pp. 275-14-276-2, T. p. 251-5-1-2, C2. p. 393-1-15-18. 372. S. p. 258, T. p. 250-3-5-4-1, C2. pp. 389-3-22-390-1-7.


the great crown (mahd-usmsa)m gives great protection, and the gloryassembled374 (tejorasi) grants success (siddhi).


5. Conclusion


The Trilokacalcra Mahamandala consists of Vairocana, four Humkaras and fortytwo Hindu deities. Though, according to the command of Vairocana, the Trilokacakra Mahamandala is explained by wrathful Vajrapani or Vajrahumkara for the benefit of die external- Hq/ra-family consisting of die forty-two Hindu deities, the real purpose of tiiis mandala is to instruct heretics, especially Hindus who honour Hindu deities, in generating the thought of enlightenment. Moreover, in this mandala, as the four Humkaras are surrounded by sixteen Hindu deities, even Hindus may identify with one of the four Humkaras after attaining one of the sixteen Hindu deities by deity-yoga.

373. Chinese 2 reads: “the mudrd of the Being-crown”.

374 Chinese 2 adds: “mahd-mudrd”.

375. S. p. 278-11, T. p. 252-1-6, C2. p. 393-3-1-1.


Chapter 12. Sarvavajrakula Vajramandala


Chapter 12 of the provides an exposition of the Sarvavajrakula Vajramandala which is classified as the dharanl-mandala of the Trilokacakra and constitutes the supreme samaya-mudra. According to Amoghavajra,377 this mandala is called the samaya-mandala (of the Trilokacakra), which contains (the main) thirty-seven deities. This mandala symbolises the minds of the deities of the Trilokacakra Mandala, and all the deities have female appearances, which are drawn as their attributes.


1. Structural Analysis o f Chapter 12

(1) The first section of chapter 12 of the STTS starting with the words, “Then once again the Lord”378 and ending with the words, “OM VAJRA HARINP19 H U M \3m provides an exposition of the second samadhi called the supreme mandala-king of the Sarvavajrakula Vajramandala.

(2) The next section starting with the words, “Then, Vajrapani once again”381 and ending with the words, “One should reveal the mandala con*ectly”,382 explains the mandala-rites of the Sarvavajrakula Vajramandala.

(3) The next section starting with the words, “One should explain the secret of the samaya-mudra”3*3 and ending with the words, “The Lord Vajradhara said thus”,384 explains the attainment-knowledge of the Sarvavajralcula Vajramandala.

(4) The final section starting with die words, “Then, one should teach the samayamudrds” 385 and ending with the words, “One should quickly take (them) away in that manner”,386 explains the mudrd-rite focusing on only the samaya-mudrds of the Sarvavajrakula Vajramandala.

2. Structure o f the Sarvavajrakula Vajramandala

Like the two previous dhdram-mandalas, i.e. the Vajraguhya Vajramandala (ch.

2) and the Krodhaguhya Mudrdmandala (ch. 7), this mandala mainly contains the symbols (mudras) as the particular attributes of the deities.

“As for the supreme Vajramandala (of the external- Fq/'ra-family), one should design the external mandala which is square and has

376. S. chapter 12, pp. 281-291, T. p. 252-2-4-5-8, C2. pp. 393-3-16-395-1-27.

377 OEAVS, TSD. Vol. 18, No. 869, p. 285-2-27-29.

37S. atha bhagavam punar api: S. p. 281-3, T. p. 252-2-4, C2. p. 393-3-17.

379. Tattvdloka reads: “HARINF. Tibetan reads: “HARANT’.

3S0. S. p. 286-11, T. p. 252-3-7, C2. p. 394-2-26.

381. atha vajrapanih punar api: S. p. 287-2, T. p. 252-3-7, C2. p. 394-2-28.

382. mandalam yathavad darsayitvd: S. p. 288-11, T. p. 252-4-7, C2. p. 394-3-22.

383. samayamudrarahasyarn bruyat: S. p. 288-12, T. p. 252-4-7, C2. p. 394-3-22-23.

384. aha bhagavdn vajradharah: S. p. 289-7^8, T. p. 252-5-1, C2. p. 395-1-3.

383. atah samayamudrah silcsayitavyah: S. p. 289-9, T. p. 252-5-1-2, C2. p. 395-1-4.

386. sahasd hdrini tatheti: S. p. 291-2, T. p. 252-5-7, C2. p. 395-1-24.

387. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 140-3-8-5-2.


gates388 to the north (and three other directions). On the inside, it has an eastern gate (and three other gates) in the same way. In its centre one should position the image of the Buddha (Vairocana) in the correct order. In the four positions of Trilokavijaya (or Vajrahumkara) and the others around him, one should draw the chief vajra-mudras in conformity with the mandala. On all sides (of each Humkara's symbol), one should draw the symbols of the (external- Vajra-) family. One should position the four Door-guardians, i.e. Vajrasaunda and the others (i.e. Vajramala, Vajravasi and Vijayavajra). One should draw from the left,389 Bhima, Sri, Sarasvati and Durga in the 390comers and their mudras in the external comers. In the external mandala, one should duly draw the goddesses.”

This description contains information about the order of designing the gates of the external and internal squares, which is also applied to all the mandalas of the STTS. This mandala consists of three parts, i.e. the external square, the internal square and the centre circle. The external square has four gates which are designed clockwise from the north, and the internal square also has four gates which are designed clockwise from the east. In the centre circle, Vairocana on the lion-seat is positioned at the centre. He is surrounded by the four attributes of the four Humkaras, i.e. a three-pronged spear marked by a vajra on the elephant-seat, a vajra-gem in the centre of a wheel on the horse-seat, an eight-petalled lotus marked by a sixteenpronged vajra on the peacock-seat, and a crossed vajra surrounded by minute crossed vajras above a three-pronged vajra on the Garuda-seat.

The sixteen images of the Hindu deities in the previous mandala are replaced by their sixteen attributes in this mandala. In the east a wheel, a bell, a stick and a vajra are drawn. In the south a sun disc, a lunar disc, a stick and a flame are drawn. In the west a pestle, an ensign, a stick and a club with an ornamental knob are drawn. In the north a hook, a rod, a battle-axe and a noose are drawn.393 Regarding the four Door-guardians, Anandagarbha explains that both Vajrasaunda and Vajramala are positioned as a pair at the four gates of the internal mandala, and both Vajravasi and Vijayavajra are positioned as a pair at the four gates of the external mandala.394 Bhima is positioned in the southeast quarter (bottom left);395 Sri is positioned in the southwest quarter (upper left); Sarasvati is positioned in the northwest quarter (upper right); and Durga is positioned in the northeast quarter (bottom right). In


388. Chinese 2 reads: “four gates”. 389. Chinese 2 omits: “from the left”.

390. Chinese 2 inserts: “internal”.

391. S. p. 287-4-14, T. p. 252-3-7-4-4, C2. p. 394-3-1-11.

392. Tattvdloka, TTP. Vol. 71, No. 3333, p. 295-1-7-2-1.

393. Ibid., p. 295-3-1-6.

394. Ibid., p. 295-2-3-4.

395. Since the bottom of the mandala is normally regarded as the east, the southeast quarter indicates the bottom left.


addition, the symbols of these four deities are also drawn in the external comers, i.e. a sword396 as the mudra of Bhima; a lotus as the mudra of Sri; a vlna as the mudra of Sarasvati; and a spear as the mudra of Durga.397 The positions of the goddesses in the external mandala are identical to the previous Trilokavijaya Mahamandala.


3. Attainment-Knowledge


The attainment-knowledge of the Sarvavajrakula Vajramandala is entitled ‘Secret of the Samaya-mudrds isamaya-mudrd-rahasya)5. Anandagarbha explains that the term rahasya (secret) means the sddhaka concealing the bodily forms of the goddesses such as Uma, and abiding in the symbols such as a three-pronged spear. Thus, the secret of the samaya-mudrds denotes the attainment of the secret goddesses manifested as the samaya-mudrds.


“These samaya-mudrds (of the Sarvavajrakula Vajramandala) become the eminent performers of all your actions, because they follow you like mothers, sisters, wives and daughters. Here is the hrdaya: tO.M SARVA VAJRA399 GAMINI SARVA BHAKSE400 SADHAYA GUHYA VAJRINIHUMPHAT.


If one recites this (hrdaya) once, one can subdue and take possession of all female (deities) without committing sin. As long as one likes, one can possess all and be successful. Then, having perceived all the mudras with mind while thinking of the purity of all, one attains the ultimate of all actions.”


This rite refers to the means of attaining the goddesses represented by symbols in the mandala. Thus, the sddhaka draws in his mind a symbol chosen in this mandala, and meditates on the symbol while making the relevant hand gesture (samaya-mudra) and reciting the relevant hrdaya. Then, he attains the female deity indicated by the symbol.


4. Conclusion


Since the Sarvavajrakula Vajramandala is the dharam-mandala or samayamandala symbolising the minds of the deities of the external-Fq/'ra-family, the bodily images of most deities of the previous Trilokacakra Mahamandala are replaced by their attributes or symbols in the mandala except Vairocana, the four Door-guardians and the four deities, i.e. Bhima, Sri, Sarasvati and Durga. This mandala which is also specially devised for Hindus explains the means of attaining Buddhahood by generating the female goddesses through meditating on symbols drawn in the mandala and by subduing and controlling them.


396 Sakyamitra regards the mudra of Bhima as a conch shell. {Kosalalamkara, TTP. Vol. 71, No. 3326, p. 8-4-8).

397 T a ttv d lo k a , TTP. Vol. 71, No. 3333, p. 295-2-4-7.

39S. Ibid., p. 296-3-5-6.

3" . Tibetan omits: “ VAJRA”.

40°. Tibetan reads: “VAKTRE”.

401. S. pp. 288-13-289-7, T. p. 252-4-7-5-1, C2. pp. 394-3-23-395-1-2.


Chapter 13. Sarvavajrakula Dhannasamayamandala


Chapter 13 of the STTS402 provides an exposition of the Sarvavajrakula

Dhannasamayamandala which is classified as the dharma-mandala of the Trilokacalcra and constitutes the supreme dharma-mudra. Thus, all the deities positioned in this mandala assume the meditation postures and hold their own attributes at their hearts.403 In addition, this chapter explains the dharma-mudras of all the deities, which refer to meditation practices as the means of attainment.


1. Structural Analysis o f Chapter 13


(1) The first section of chapter 13 of the STTS starting with the words, “Then, once again the Lord”404 and ending with the words, “0M VIBHA VIBHA HUM PH AT’f 05 provides an exposition of the second samddhi called the supreme mandala-king of the Sarvavajrakula Dharmasamayamandala.

(2) The next section starting with the words, “Then, Vajrapani once again announced this Sarvavajrakula Dharmasamayamandala”406 and ending with the words, “Then, having removed the face-cover (of the pupil), (the va/ra-master) should reveal the mandala”,407 explains the mandala-rites of the Sarvavajrakula Dharmasamayamandala.

(3) The final section starting with the words, “One should teach the mudrdlcnowledge of the Dharma-samaya”m and ending with the words, “No drink is comparable to water”,409 explains the attainment-knowledge of the Sarvavajrakula Dharmasamayamandala


2. Structure o f the Sarvavajrakula Dharmasamayamandala


The STTS provides only the following brief information about the Sarvavajralcula Dharmasamayamandala because the bodily images and symbols of the deities drawn in this mandala are described in the previous two mandalas of the Trilokacab'a:-


“As for the supreme Mahasamayamandala (of the external- Vajrafamily), 411 one should design the whole mandala in conformity with the Trilokacah'a (Mahamandala). Then, one should draw all

402. S. chapter 13, pp. 292-298, T. pp. 252-5-8-253-3-3, C2. pp. 395-2-1-396-1-25.

403. Kosaldlamlcdra, TTP. Vol. 71, No. 3326, p. 10-3-3-4.

404. atha bhagavam punar api: S. p. 292-3, T. pp. 252-5-8-253-1-1, C2. p. 395-2-8.

405. S. p. 295-4, T. p. 253-1-7, C2, p. 395-3-23.

406. atha vajrapanih punar apidam sarvavajrakula dharmasamayamandalam abhdsat: S. p. 295- 6-7, T. p. 253-1-7-8, C2. p.' 395-3-24-25.

407. tato mukhabandham muktva mandate™ darsya: S. p. 296-6, T. p. 253-2-4, C2. p. 396-1-12.

408. dharmasamayamudrdjnanam siksayet: S. p. 296-6-7, T. p. 253-2-4-5, C2. p. 396-1-12-13.

^ . j a l a t tulyo na vai rasa itv. S. p. 298-2, T. p. 253-3-2, C2. p. 396-1-25. 410 Cf. Tattvdloka, TTP. Vol. 71, No. 3333, pp. 140-5-2-141-1-4.

41 f Sanskrit reads: “Mahamandala”. Chinese 2 reads: “Mahddharmasamayamandata”.


(the deities) abiding in samadhi412 namely, Buddha (Vairocana), Vajradhara (or Vajrahumkara) and the others, who hold their own attributes at their hearts in conformity with the dharma-mandala (of the Trilokavijaya).”

Anandagarbha explains that the term Mahdsamayamandala means the mandala generated through samadhi as all dharmas are pure by nature.414 As already mentioned, all the deities in this mandala assume the postures of meditation and hold their own symbols at their hearts like the two previous dharma-mandalas, i.e. Vajrajnana Dharmamandala (ch. 3) and Vajralada Dharmajhanasamayamandala (ch. 8), with the slight difference between this mandala and the two previous dharma-mandalas being that each of the- deities in the two previous dharmamandalas is drawn in tire centre of the vajra symbolising the lcno wl edge-vq/Va or the subtle-vq/ra, On the basis of the above description, it is evident that this mandala has basically the same external shape and also the same deities as those of the Trilokacalcra Mahamandala. Thus, according to Amoghavajra, this mandala also contains (the main) thirty-seven deities,415 which implies that the same numbers of deities are drawn in this mandala as those of the previous two mandalas of the Trilokacalcra. However, according to Anandagarbha,416 the internal mandala of the Sarvavajralmla Dharmasamayamandala consists of Vairocana, the four Humkaras (including Vajravidyottama placed on the feet of Vajrahumkara) and the four Door-guardians (i.e. Vajrankusa, Vajrapasa, Vajrasphota and Vajravesa) at the four gates of the internal mandala', and its external mandala consists of twenty Hindu deities (i.e. four Vidyarajas, four Vajrakrodhas, four Ganapatis, four Dutas and four Cetas).


3. Attainment-Knowledge


The attainment-knowledge of the Sarvavajrakula Dharmasamayamandala is entitled the Dharma-samaya-mudrd-jhdna. The term dharma-samaya indicates the Sarvavajralmla Dharmasamayamandala, and the term mudra in this context represents the sealing of the realms of living beings in samadhi.411 Thus, the mudrds described in this mandala contain the nature of samddhis of all the deities which are positioned in this mandala.

“(a) (The nature of die samddhis) of the Buddha, Vajradhara and the others are in accordance with the dharma-mandala (of the Trilokavijaya). The meditation (dhydna) of Vajravidyottama is endowed with total equanimity 418

412. Chinese 2 reads: “in correct order”.

413. S. p. 295-8-11, T. p. 253-1-8-2-1, C2. pp. 395-3-26-396-1-2.

414 Tattvdloka, TTP. Vol. 71, No. 3333, p. 298-4-1-2.

415. OEAVS, TSD, Vol. 18, No. 869, p. 285-3-1-4.

4 1 6 . T a ttvd lo k a , TTP. Vol. 71, No. 3333, p. 298-4-7-5-7. 417. Ibid., p. 300-1-7.

418. Chinese 2 reads: “the cause of tranquillity”.


(b) As this world is identical with illusion (maya), so suffering is identical with the bell (ghanta).m Liberation is for all sufferings,420 and the vaj'ra is the best among destructive weapons.

(c) Supreme wrath is for the subjugation of living beings, and the nature of Soma is constant killing. No destruction is equal to the 421 stick (danda), and false doctrine is the cause of fear.


(d) No courage is comparable to intoxication, and no bond is comparable to the 422garland (mala). The passionate woman subjugates the world, and the patient mother is not conquered.


(e) The blow is the supreme punishment, and the 423wind is (the best) touch. The most excellent splendour is fire,424 and blood is the best among foods.


(f) When the pure hook enters, all the dead stand on their feet. No hindrance is comparable to fear, and no drink is comparable to water.”

In the previous section, since Anandagarbha argues that the internal mandala of the Sarvavajralmla Dharmasamayamandala mainly consists of Vairocana, the four Humkaras and the four Door-guardians, he regards the Buddha, Vajradhara and the others described in paragraph (a) as referring to Vairocana, the four Humkaras and the four Door-guardians. Concerning the characteristics of the samddhis of these nine deities, he explains that the samadhi of Vairocana is endowed with assembling all the Tathagatas; the samadhi of Vajrahumkara is endowed with teaching, destroying, descending and bringing back all the Tathagatas; the samadhi of Ratnahumkara is endowed with the pledge of the consecration; the samadhi of Dharmahumkara is endowed with the essence of the perfection of wisdom (prajhapdramita); the samadhi of Karmahumkara is endowed with the essence of die perfection of endeavour (virya-paramitd); the samadhi of wrathful Vajrarikusa is endowed with attracting all the Tathagatas; the samadhi of wrathful Vajrapasa is endowed with drawing in all the Tathagatas; the samadhi of wrathful Vajrasphota is endowed with binding all the Tathagatas; and the samadhi of wrathful Vajravesa is endowed with subjugating all the Tathagatas 426 The nature of these nine attributes is the dharma which is veiy pure by nature. As can be seen in the above, the meditation or the samadhi of Vajravidyottama is endowed with total equality. In 419. Chinese 2 reads: “the sound of a bell”.

420 All sufferings indicate the 108 sufferings explained in the Bodhisattva-Wunm. (Tattvdloka,

TTP. Vol. 71, No. 3333, p. 300-2-8).

42f Chinese 2 inserts: “vajra”.

422. Chinese 2 inserts: “vajra”.

423. Chinese 2 inserts: “vajra”. 424. Chinese 2 inserts: “vajra”.

425. S. pp. 296-8-298-3, T. p. 253-2-5-3-2, C2. p. 396-1-14-25.

426. Tattvdloka, TTP. Vol. 71, No. 3333, p. 300-2-1-6.


this context, total equanimity means the equanimity of all the dharmas which are pure by nature in the Dharma-dhatu.

Paragraphs (b), (c), (d), (e) and (f), refer to the samddhis of the four Vidyarajas, the samddhis of the four Vajrakrodhas, the samddhis of the four Ganapatis, the samddhis of the four Dutas, and the samddhis of the four Cetas.


4. Conclusion


The Sarvavajrakula Dharmasamayamandala focuses on the dharmas or natures of all the deities drawn in this mandala, and explains the characteristics of the samddhis of all the deities. The meditation on the deities of this mandala, especially Hindu deities, is performed together with the methods explained by the previous two dharma-mandalas, on the basis of the concept that all the dharmas are pure by nature, which means that there is no difference between the dharma of any deity belonging to either the Tathagata-family or the Vajra-family and the dharma of any deity belonging to the external- Pq/'ra-family. 427. Ibid., p. 300-2-6.


Chapter 14-a. Sarvavajrakula Karmamandala


Chapter 14-a of the STTS42* provides an exposition of the Sarvavajrakula Karmamandala which is classified as the karma-mandala of the Trilokacakra and constitutes the supreme karma-mudra. This mandala symbolises the offerings of the goddesses positioned in this mandala, especially twenty Hindu goddesses. These offerings of goddesses are expressed as the dance-rite of all the deities, which results in attaining all the actions of Vairocana and the four Humkaras.


1. Structural Analysis o f Chapter 14-a


(1) The first section of chapter 14-a of the STTS starting with the words, “Then the Lord once again entered the samadhi called the Layra-Empowerment Generated from the Pledge of the Action of all the Tathagatas”429 and ending with the words, “Vajracetyah”,430 provides an exposition of the second samadhi called the supreme mandala-king of the Sarvavajrakula Karmamandala.

(2) The next section starting with the words, “Then, Vajrapani once again”432 and ending with the words, “Then, (the vajra-master) should remove the face-cover (of his pupil)”,433 explains the mandala-rites of the Sarvavajrakula Karmamandala. In the rite of entry into this mandala, the vajra-master performs the rite of the dance-offerings.

(3) The final section starting with the words, “One should teach the mudrdlcnowledge of the dance-offering”434 and ending with the words, “One should surely accomplish the attainment of the karma (-mudrds) of Mahavajradhara and the others”,435 explains the attainment-knowledge of the Sarvavajrakula Karmamandala,


2. Structure o f the Sarvavajrakula Karmamandala


Like the previous two karma-mandalas, i.e. the Vajrakarya Karmamandala (ch. 4) and the Vajrakula Karmamandala (ch. 9), the Sarvavajrakula Karmamandala focus on worshipping. Thus, all the deities, except for Vairocana, the four Humkaras and Vajravidyottama, have female appearances and dancing postures. In this mandala, the twenty Hindu gods occupying the internal mandala of the

428. S. chapter 14-a, pp. 299-310, T. pp. 253-3-3-254-2-6, C2. pp. 396-1-26-398-3-2.

429. atha bhagavam punar api sarvatathdgatakarmasamayodbhava vajradhisthdnan nama samddhim samdpadya: S. p. 299-2-3, T. p. 253-3-3, C2. p. 396-1-27-28.

430. S. p. 307-13, T. p. 254-1-3, C2. p. 398-1-23. Chinese 2 omits: “Vajracetyah”.

43 K Chinese 2 adds: “Bodhisattva Mahasattva”.

432. atha vajrapdnih punar a p t S. p. 308-1, T. p. 254-1-3, C2, p. 398-1-24.

433. tato mukhabandham mulctvd: S. p. 309-13, T. p. 254-2-3, C2. p. 398-2-22.

434. nrtyopahdramudrdjndnam siksayet: S. p. 309-13—14, T. p. 254-2-3, C2. p. 398-2-22—23.

435. mahavajradharddis ca karrnasiddhi bhaved dhruvam iti: S. p. 310-8-9, T. p. 254-2-6, C2. p. 398-3-2.

436. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 141-1-4-2-5.


Trilokacakra Mahamandala are replaced by their consorts occupying the external mandala of the Trilokacakra Mahamandala.

“As for the supreme Karmamandala (of the external- Vajrafamily), one should design the whole mandala in conformity with the Vajra-mandala

In the (four) chief positions of the mandala which surround the Buddha-position at the centre,438 one should place the (four leading) Mahasattvas in correct order. At the centre of (the mandala), one should also place Vajravidyottama accompanied by his consort (Uma or Krodhavajragni), who are praised by (four) Secret-dance-offerings, i.e. Vajralasya and the others (at the four comers).

In this (internal mandala), one should draw the goddesses in the correct order, each of whom has the posture of the dance-offering with either sva-mudrd or prati-mudrd, in conformity with the calcra-mandala. For the purpose of worshipping the Buddha (Vairocana) and Vajradhara439 (or Vajrahumkara),440 one should draw441 (Vajra-) Dhupa and the others in the correct order at the four comers between the gates (of the external mandala) by means of the vnyra-dance.

This description gives the details of the structure of the Sarvavajrakula Karmamandala. Vairocana occupies the centre of this mandala together with Vajravidyottama and Krodhavajragni (or Uma) who are positioned below Vairocana. Four Internal Offerings, i.e. Vajralasya, Vajramala, Vajraglta and Vajranrtya, who have the dancing-postures, are drawn at the four comers of the internal square. Vajrahumkara placed at the centre of the eastern quarter is surrounded by the four consorts of the first group, i.e. (1) VajrasauvarnT, (2) Vajrakaumari, (3) Vajrasanti and (4) Vajramusti. Ratnahumkara placed at the centre of the southern quarter is surrounded by the four consorts of the second group, i.e. (5) Vajramrta, (6) Vajrakanti, (7) Dandavajragra and (8) Vajramekhala. Four gates of the internal mandala are occupied by the four consorts of the third group, i.e. (9) Vajravilaya, (10) Vajrasana, (11) Vajravasana and (12) Vajravasa. Dharmahumkara placed at the centre of the western quarter is surrounded by the four consorts of the fourth group, i.e. (13) Vajraduti, (14) Vegavajrini, (15) Vajrajvala and (16) Vajravilcata. Karmahumkara placed at the centre of the northern quarter is 437. Anandagarbha states that the Vajra-mandala indicates the Sarvavajralmla Vajramandala (or the dhdram-mandala of the Trilokacah'a), but Sakyamitra states that it indicates the Trilokavijaya Mandala. (Tattvalolca, TTP. Vol. 72, No. 3333, p. 3-4-1-2; Kosalalamkara, TTP. Vol. 71, No! 3326, p. 12-1-7).


438. Chinese 2 reads: “First of all, one should place the image of the Buddha in the centre at the foremost position of the whole mandala.”

439. Sanskrit reads: “Vajrin”.

440 Chinese 2 omits this phrase.

441. Chinese 2 adds: “the four Offerings”. 442 S. p. 308-3-12, T. p. 254-1-3-7, C2. p. 398-1-26-2-8.


surrounded by the four consorts of the fifth group, i.e. (17) Vajramuldn, (18) Vajrakali, (19) Vajraputana and (20) Yajramakari. Each of the ten goddesses (the indicated numbers 1~10) appears in the dance-offering-posture with the sva-mudra, and each of the rest (the indicated numbers 11~20) appears in the dance-offeringposture with the prati-mudra443 Sakyamitra explains that the sva-mudra indicates the deity's own attribute {mudra) drawn in the dhdrani-mandala, and the pratimudra means the counter or opposite mudra of the sva-mudra, for example, as the opposite concept of fire is water, the prati-mudra of the sun is the canopy.444 Four External Offerings, namely, Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha, who have dancing-postures, are drawn at the four comers of the external square. Regarding the four Door-guardians, while Sakyamitra comments that VajrarikuSa, Vajrapasa, Vajrasphota and Vajravesa are positioned at the four gates of the external square,445 Anandagarbha explains that both Vajrasaunda and Vajramala are positioned (as a pair) at the four gates of the internal mandala, and both Vajravasi and Vijayavajra are positioned (as a pair) at the four gates of the external mandala


3. Attainment-Knowledge


Die attainment-knowledge of the SarvavajraJcula Karmamandala is entitled the knowledge of the dance-oblation-mwriras {nrtyopaharamudrajntina). Since this mandala emphasises worship, the concept of worshipping in the following rite is expressed as the hand gestures derived from Indian dance. “The supreme samaya {-mudrds) of the Buddha (Vairocana), Vajradhara (Vajrahumkara) and the others447 are made into two (fists). The offerings of Vajralasya and the others are made for Vajravidyottama. One should worship the karma-mandala with the dance-oblation-offerings448 of all the Vidyas duly in correct order.

The mahd-mudras should be epitomised by means of the vajradance. Having made the supreme samaya {-mudrds) into two (fists), one should release them with the prati-mudras (countermudrds) 449 If one worships all the lords {ndyaka) with the danceoblation, one can surely gain the attainments of the actions of Mahavajradhara and the others.


443. Tattvdloka, TTP. Vol. 72, No. 3333, p. 3-5-1-4.

444 Kosaldlamkdra, TTP. Vol. 71, No. 3326, p. 12-3-5-7.

445. Ibid., p. 12-4-1-2.

446. Tattvdloka, TTP. Vol. 72, No. 3333, pp. 3-5-8-4-1-1.

447. According to Anandagarbha, in this context, the Buddha refers to the four Humkaras, and Vajradhara and the others refer to the sixteen wrathful Mahabodhisattvas and the eight Offerings positioned in the Trilokavijaya Mahamandala. {Tattvdloka, TTP. Vol. 72, No. 3333, p. 6-1-1-3),

448. Tibetan reads: “madras”, instead of “offerings”.

4 4 9 . Tibetan reads: “karma-mudra”.

450 S. p. 310, T. p. 254-2-3-6, C2. p. 398-2-24-3-2.


The first paragraph explains the essence of the karma-mudras of the deities positioned in the Sarvavajralmla Karmamandala. The karma-mudras of Vairocana and the four Humkaras begin with making their samaya-mudrds into the two fists in accordance with the instruction of the Trilokavijaya Mahamandala. According to Anandagarbha, Vajravidyottama represents the twenty Hindu gods, and Vidyas refer to the twenty Hindu goddesses.451 Thus, in order to worship the Hindu gods including Vajravidyottama, the sddhaka makes the hand gestures of the four Internal Offerings (i.e. Vajralasya, Vajramala, Vajragita and Vajranrtya). In addition, in order to worship the karma-mandala, the sddhaka makes the hand gestures of the twenty Hindu goddesses.

The second paragraph explains the means of attaining Vairocana and the four Humkaras by means of the four mudrds of the twenty Hindu goddesses. The maha-mudras in this quotation refer to the hand gestures described in the Trilokacal<ra Mahamandala, all of which begin with making the vo/ra-bond (yajra-bandha). Just as there are the opposite relationships between the samayamudrds and the prati-mudras, so there are the opposite relationships between each of the ten goddesses, starting with Vajrasauvarm and up to Vajrasana, and each of the other ten goddesses, starting with Vajravasana and up to Vajramakari. For example, if the pupil makes the hand gesture of Vajrasauvarm, his master makes the hand gesture of Vajravasana. Though there is no mention of the dharma-mudrds in this quotation, the sddhaka is required to meditate on the deities of this mandala and to recite of the relevant hrdayas. Finally, the above rite is concluded with worshipping Vairocana and the four Humkaras by the dance-rite, and the sddhaka gains all the attainments of Vairocana and the four Humkaras.


4. Conclusion The Sarvavajrak

ula Karmamandala focusing on the offerings of goddesses shows Vairocana and the four Humkaras worshipped by the dance-offerings of the goddesses, especially the twenty Hindu goddesses. Significantly, there is opposition between the symbols held by the goddesses drawn in the mandala, as for instance, the sun and the canopy. Thus, the symbols of the goddesses occupying die western quarter of the mandala are the opposites of those of the goddesses occupying the eastern quarter, and the symbols of the goddesses occupying the northern quarter are the opposites of those of the goddesses occupying the southern quarter. This opposition between the symbols drawn in the mandala is also applied to the attainment-knowledge of the Sarvavajrakula Karmamandala where the symbols are expressed as the hand gestures formed by the master and the pupil. The

45f Tattvdloka, TTP. Vol. 72, No. 3333, p. 6-1-6-8.

However, Sakyamitra regards Vidyas as referring to the four External Offerings (i.e. Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha) and the twenty Hindu goddesses positioned in this mandala. (Kosalalamkara, TTP. Vol. 71, No. 3326, p. 13-l-3~4).


purpose of the Sarvavajrakula Karmamandala is to instruct Hindus in attaining Buddhahood by means of practising the rite of dance-offerings.


Chapter 14-b. Epilogue of the Trilokacakra


The four mandalas of the Trilokacakra Mandala are dominated by Vairocana and the four Humkaras like the Trilokavijaya Mandala. Thus, the STTS does not provide the expositions of the caturmudramandala and the ekamudramandala of the Trilokacakra Mandala in order to avoid repetition, because they should be the same as those of the Trilokavijaya Mandala, i.e. the Trilokavijaya Caturmudramandala consisting of Vairocana and the four Humkaras, and the Vajrahumkara Mandala (or Trilokavijaya Ekamudramandala) consisting of Vajrahumkara. Chapter 14-b of the STTS452 provides the epilogue of the Trilokacab'a. This chapter 14-b is divided into two sections, i.e. (i) a set of verses, containing the five secrets enunciated by Vairocana and the four chief Mahabodhisattvas (or the four Humkaras), (ii) a verse praising Vajradhara or Vajrahumkara by Vairocana, which is the same verse as at the end of chapter 5.

The following five verses represent the five families, i.e. Tathagata-, Vajra-, R atnaP adm a- and Karma-families, and succinctly express the significances of the five families in relation to the Trilokacakra Mandala:- “The Lord (Vairocana) entered the samadhi called the Secret- Vajra of all the Tathagatas, and announced the Secret of all the Tathagatas: Tor the benefit of living beings, one should purify the nature of all living beings to be converted by means of passion, and the others

Then Vajrapani announced his own 454Secret: Tor the benefit of all living beings, if one should kill all living beings according to the Buddha's teaching, one is not defiled by sin.’ Then the Bodhisattva Vajragarbha announced his own Jewelsecret: T or the benefit of all living beings, if one destroys the thought455 of others by imiting with the Buddha-body,456 one is not defiled by sin.’

Then the Bodhisattva Vajranetra announced his own Dharmasecret: ‘There is no bliss equal to passion. For the benefit of living beings,457 if one associates with others' wives by means of offering to the Buddhas,458 one obtains merit.’ Then the Bodhisattva Vajravisva announced his own Actionsecret: T or the benefit of all living beings, if one should execute

452. S. chapter 14-b, pp. 311-313, T. p. 254-2-7-4-2, C2. pp. 398-3-3-399-1-2.

453. Chinese 2 reads: “All the existing precepts have been generated from the nature of living beings, so all the activities which have been done with passion, etc., for the benefit of living beings, are pure.”


454. Tibetan adds: “ Vajra”.

455. Tibetan reads: “wealth”.

456. Tibetan reads: “the Buddha's truth”.

457. Sanskrit omits: “for the benefit of living beings”.

458. Chinese 2 reads: “if one acts in the same way as all the Buddhas act, however one acts benefits living beings”.


all activities according to the Buddha's teaching, one gains great merit.’”

There are two purposes of the Vajra-family described in part two of the STTS, the first in the Trilokavijaya Mandala to guide the sddhaka to eliminate and purify spiritual obstacles and defilements symbolised as all evil beings, and the second in the Trilokacakra Mandala to convert and instruct Hindus to attain Buddhahood by employing forty-two Hindu deities called the external- Kq/m-family. Thus, the above quotation can be interpreted in relation to the second purpose of the Vajrafamily that in order to attain Buddhahood, the Hindu sddhaka should practise the five secrets; firstly, purifying Hindu deities by passion; secondly, killing Hindu deities in deity-yoga; thirdly, destroying Hindu deities by samadhi; fourthly, uniting with Hindu goddesses by the four madras; and finally, performing the rite of offerings to Hindu goddesses. It is evident that these secrets have a highly advanced I tantric flavour in the antinomian sense that they controvert the norms of ordinary morality. In order to guide the Hindu sddhaka to destroy his established attitude towards the Hindu deities, the secrets teach, on the basis of the concept that all the images of the Hindu deities whom the sddhaka encounters and experiences in deityyoga have no self-nature, that the sddhaka should conquer passion by passion and wrath by wrath.

459. S. pp. 311-9-312, T. p. 254-3-1-7, C2. p. 398-3-7-23.

Cf. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 51.


Dharma-Pledge of All the Tathagatas


Part three of the Sanskrit STTS1 is divided into four chapters, entitled Sakalajagadvinaya Mahamandala (ch. 15), Padmaguhya Mudrdmandala (ch. 16), (Padmakula) Jndnamandala (ch. 17), and (Padmakula) Karmamandala (ch. 18-a). The last chapter also includes a section which forms an epilogue of part three (ch. 18-b) and contains the rites of two mandalas, i.e. Padmakula Caturmadramandala and Sarvajagadvinaya Mandala (or Padmakula Ekamudramandala). These six mandalas of part three belong to the Lotus-family. David Snellgrove argues that the Lotus-family describes the supernatural powers, for example, subduing beings to one's will, becoming invisible, assuming various bodily forms, flying in the sky, etc.2

According to the Pali Majjima Nikdya, soon after the Buddha Sakyamuni's ^ enlightenment, he decided not to teach what he had attained to others, because he thought that the truth was too profound to understand for human beings who were attached to passion. However, after receiving Brahma Sahapati's request, he i changed his mind, and started to teach for the benefit of others.3 Thus, part three of die STTS was probably motivated by this specific story, and was devised for the conversion of the entire world, because the presiding Buddha refers to either Vairocana or Sakyamuni.4 In order to symbolise the Buddha Sakyamuni's compassion and mercy, part three of the STTS is dominated by the lotus and Avalokitesvara. According to Anandagarbha, part three of die STTS explains the significance of assembling the nature of the Dharma-mudra which is the perfection of the wisdom of the Lotus-family as the remedy for ignorance.5


f S. part three, pp. 314—381, T. pp. 254-4-2-261-1-7, C2. pp. 399-1-3-411-3-21.

2. David Snellgrove, Indo-Tibetan Buddhism, p. 237.

3. Edward Thomas, The Life o f Buddha as Legend and History, pp. 81~86.

4. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 52.

5. Tattvdloka, TTP. Vol. 71, No. 3333, p. 141-2-5-6.



Chapter 15. Sakalajagadvinaya Mahamandala


Chapter 15 of the STTS6 provides an exposition of the Sakalajagadvinaya Mahamandala which constitutes the supreme maha-mudrd of the Lotus-family. Amoghavajra provides the outline of this chapter as follows “The third main part is called ‘Conversion of the Entire World (sakala-jagad-vinaya)’. It includes six mandalas. The first mandala (of the Sakalajagadvinaya) is called the mahd-mandala. It contains (the main) thirty-seven deities. All of them are the transformations of Avalokitesvara. (This section of the tantrd) explains the rite of guiding the pupil to enter (the mandala), and also explains the sixteen kinds of the samadhi-rites for the rapidaccomplishment of supernatural knowledge (abhijna).”7

This mandala focuses on the Compassionate Body of Avalokitesvara abiding in the heart of Vairocana, and all the deities of this mandala are manifestations of Avalokitesvara, The attainment-knowledge described in this mandala, which consists of the sixteen samadhi-rites for the conversion of all living beings and the acquisition of supernatural powers, employs the meditation on either the lotus or the image of Avalokitesvara.


1. Structural Analysis o f Chapter 15


(1) The first section of chapter 15 of the STTS starting with the words, “Then all the Tathagatas again gathered together in a conclave”8 and ending with die words, “They can become even gods”,9 opens with a eulogy of Avalokitesvara who presides as chief Mahabodhisattva of the Lotus-family and is saluted by all the Tathagatas with one hundred and eight names, beginning with Padmasattva, Mahapadma, Lokesvara, Mahesvara, Avalokitesvara, etc. and ending with Vajranetra.10 This section also includes an exposition of the second samadhi called the supreme mandala-king of the Sakalajagadvinaya Mahamandala.

(2) The next section starting with the words, “Then, the Lord Bodhisattva Mahasattva Avalokitesvara”11 and ending with the words, “Here is the dharmanature”, 12 explains the detailed mandala-rites of the Sakalajagadvinaya Mahamandala. In this section, the names of the main thirty-seven deities of the Sakalajagadvinaya Mahamandala are enumerated in the form of hrdayas. As


6. S. chapter 15, pp. 315-339, T. pp. 254-4-2-257-2-7, C2. pp. 399-1-8-403-3-26.

7. OEAVS, TSD. Vol. 18, No. 869, p. 285-3-8-11.

8. atha sarvatathdgatdh punah samdjam dgamya: S. p. 315-3, T. p. 254-4-2, C2. p. 399-1-10.

9. devd api bhavanti hi: S. p. 320-15, T. p. 255-2-6, C2. p. 400-1-4.

10. David Snellgrove, Sarva-Tathagata-Tattva-Sahgraha, Introduction, p. 52. u . atha bhagavan avaloldtesvaro bodhisattva mahdsattvah: S. p. 321-1, T. p. 255-2-6, C2. p. 400-1-5.

12. iyam atra dharmata: S. p. 329-12, T. p. 256-2-1, C2. p. 401-3-23. Chinese 2 reads: “the Lotus-cf/zarara-nature”.



David Snellgrove points out,13 the names of the deities belonging to this Lotusfamily mostly replaced Vajra- with Padtna- as the first part of a Bodhisattva s name.

(3) The next section starting with the words, “Then, one should teach the knowledge of the mudra of the Lotus-family”14 and ending with the words, “LOKESVARA”,15 explains the attainment-knowledge of the Sakalajagadvinaya Mahamandala consisting of sixteen samddhis.

(4) The final section starting with the words, “Then, one should teach the knowledge of all the mudrds of the mahd-mandala”16 and ending with the words, “One should accomplish the karma-mudras”,[1 explains the rites of the four mudrds of the Sakalajagadvinaya Mahamandala.


2. Mandala Rites


The Sakalajagadvinaya Mahamandala was enunciated by the Mahabodhisattva Avalokitesvara in order to achieve certain goals, which are according to the STTS19: (1) giving safety to all the Tathagatas and all sentient beings, (2) accomplishing Hie intended tasks, (3) attaining the supreme siddhis, (4) attaining the nature of Vajra, (5) attaining wisdom, and (6) attaining supernatural knowledges.


a. Structure o f the Sakalajagadvinaya Mahamandala


The Sakalajagadvinaya Mahamandala has the same external structure with the same positions for the main thirty-seven deities as the Vajradhatu Mahamandala. A slight difference between the two is that whereas the Vajradhatu Mahamandala has a wheel-shaped central part adorned with eight vq/ra-pillars inside its internal square, this mandala has a lotus-shaped central part adorned with eight petals inside its internal square. According to Anandagarbha, the vajra is drawn at each of the eight petals.20 He also comments that every deity positioned in this mandala is drawn on the moon and the lotus-seat,

“The supreme Mahamandala (of the Lotus-family) has the basic design of the Vajradhatu {Mahamandala) and is called ‘ Jagadvinaya (Conversion of the World)’. (This mandala) has its four comers embellished with four gates and four arched doorways, joined together by four lines and adorned with silk pennants, wreaths and garlands. The external


13. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 52.

14. tatah padmaJadamudrajndnam siksayet: S. p. 330-1, T. p. 256-2-1-2, C2. p. 401-3-23.

15. S. p. 333-13, T. p. 256-4-1, C2. p’ 402-3-9.

Chinese 2 reads: “ABHISEKA LOKE$VARA”.


16. tato mahdmandalasarvamudrdjndnam siksayet: S. p. 334-1, T. p. 256-4-1, C2. p. 402-3-10.

17. karmamudrah samadhayed iti: S. p. 339-7-8, T. 257-2-6.

1S. Cf. Tattvdloka, TTP. Vol. 71, No. 3333, p. 141-2-5-4-2.

19 S. p. 321-1-5, T. p. 255-2-6-8, C2. p. 400-1-5-8.

20. Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-2-6-7.

21. Ibid., p. 17-3-8-4-2.


mandala should be drawn, inlaid with vajras and gems in every comer of the mandala and between the gates and doors. The internal part should be surrounded by a square line. One should start to design a lotus image from the comer of the second gate. In conformity with the eight pillars, one should draw a lotus of eight petals.

One should place an image of the Buddha (Vairocana) at the centre of its lotus-filaments. At the centre of each lotus drawn on all sides of the Buddha, a vajra, a gem, a lotus and a crossed lotus should be positioned in correct order.

Having approached the mandala of Jagadvinaya22 (located at the lotus-leaf of the eastern quarter) with the vq/ra-impulse, one should draw (at its centre) Lokesvara23 (or Avalokitesvara) who emits all forms.24 On all his sides, one should draw (from the east clockwise) the (four) Mahasattva Padmacihnadharas, i.e. Buddha (-padma) (or Padmabuddha) and the others (i.e. Padmaraja, Padmaraga and Padmasadhu) by referring to Vajragarva and the others.

Having approached the second mandala26 (located at the lotus-leaf of the southern quarter) with the vq/ra-impulse in the same way, one should draw at its centre (Avalokitesvara)27 who has an image of Tathagata (Amitabha) in the centre of his twisted hair (fata).28 On all his sides, one should duly draw the (four Mahasattva) Padmacihnadharas (i.e. Padmabhrkuti, Padmasurya, Padmaketu and Padmahasa) in correct order by referring to Bhrkuti and the others.

Having approached the third mandala29 (located at the lotus-leaf of the western quarter) with the vq/ra-impulse in the same way, one should draw (at its centre) the Mahasattva30 (Avalokitesvara) in equanimity,31 who is positioned on the lotus. On all his sides,

22. Chinese 2 reads: “the mandala positioned in the east”.

23. Tibetan reads: “Avalokitesvara”.

24 Sakyamitra explains that the phrase ‘emitting all forms’ means emitting from all the pores of Lokesvara the bodily forms of the deities existing in the external world and beyond the external world. (.Kosalalarnkdra, TTP. Vol. 71, No. 3326, p. 19-1-5—6). However, Anandagarbha interprets ‘all forms’ in relation with the Sakalajagadvinaya Mahamandala where all forms refer to the deities beginning with Buddhapadma (or Padmabuddha) who is regarded as the sixth Mahabodhisattva in this mandala ending with Padmavesa who is the thirty-seventh Mahabodhisattva. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-3-5).


25. Anandagarbha states that the phrase ‘by referring to Vajragarva and the others’ refers to the method of the maha-mudrds of Vajrasattva and the others explained from the Vajradhatu Mandala. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-3-6~7).

26. Chinese 2 adds: “positioned in the south”.

27. Chinese 2 reads: “the deity of its own family (sva-kula~devaj\

28. According to the MW (p. 409), the Sanskrit term ja td means the hair twisted together as worn by Siva, ascetics and persons in mourning.

29. Chinese 2 adds: “positioned in the west”.

30 Chinese 2 adds: “of its own family”.

31. Chinese 2 omits: “in equanimity”.


one should duly place the (four) Mahasattvas (Padmacihnadharas, i.e. Padmatara or Tarapadma, Padmakumara, Padmahetu and Padmabhasa) in correct order by referring to Padmaloka and the others.

Having approached the fourth mandala32 (located at the lotus-leaf of the northern quarter) with the vq/ra-impulse in the same way, one should draw (at its centre) a four-faced Padma (Avalokitesvara) holding a lotus-lance. On all his sides, one should draw the (four) Mahasattva Padmacihnadharas (i.e. Padmanartesvara, Padmaralcsa, Padmayaksa and Padmamusti) in accordance with the rite by referring to Vajranrtya and the others. Having approached with the vq/ra-impulse, one should draw the (four) Goddesses in all the (four) comers, i.e. Padmalasya and the others (i.e. Padmamala, Padmagita and Padmanrtya) by referring to Vajralasya and the others. Having approached with the vajraimpulse, one should draw the four Offering-Goddesses, i.e.

Padmadhupa33 and the others (i.e. Padmapuspa, Padmadipa and Padmagandha) in juxtaposition in the external mandala. Then, at the four gates of the lotus, one should duly draw all the (four) Ganas (or four Door-guardians, i.e. Padmankusa or Hayagriva, Padmapasa or Amoghapasa, Padmasphota and Padmavesa or Padmaghanta) in accordance to the sense of their hr day as The image of Vairocana is drawn on the lion-seat positioned at the centre of the pistil of the lotus. Anandagarbha explains that Vairocana has a white-coloured body, holds the five pronged vajra with the hands made by the {karma-) mudra known as the supreme enlightenment, and has four heads whose first head faces the east.35 Since the Lotus-family represents the wisdom and instruction of the Buddha,36 an eight-petalled lotus symbolises the Eightfold Path (dryamdrga) taught by the Buddha Sakyamuni. The four symbols of the four Paramitas, i.e. vajra, gem, lotus and crossed lotus, are drawn on the four lotus-seats placed in the four directions of Vairocana. In this mandala, the vajra indicates a lotus signified by a five-pronged vajra, the gem indicates a wish-granting-gem {cintamant) signified only by a lotus, the lotus indicates a vajra-lotus of sixteen lotus-petals, and the crossed lotus indicates a crossed lotus of four petals.


As can be seen, one of the characteristics of this mandala is that the four different images of Lokesvara or Avalokitesvara are drawn in the positions of the four Tathagatas. First, LokeSvara when emitting all fomis (called Jagadvinaya) has the whitish-red body and hands, and holds a lotus stalk with his left hand and opens


32. Chinese 2 adds: “positioned in the north”.

33. Tibetan reads: “Padmapuja”.

34. S. pp. 321-6-327, T. pp. 255-2-8-256-1-1, C2. pp. 400-1-9-401-2-23.

35. Tattvdloka, TTP. Vol. 72, No. 3333, p. 17-4-5.

36. David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, p. 30.

37. Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-3-1-3.


the lotus over his heart with his right hand.38 Second, Lokesvara when having the image of the Tathagata Amitabha in the centre of his twisted hair (called Jatabuddha or Buddhajata) has a red body, and holds a lotus with his left hand and makes the kcirma-mudra known as the supreme samadhi with his right hand.39 Third, Lokesvara when abiding in meditation (called Padmasamadhi) has a red body possessing Satakratu's (or Indra's) appearance and one thousand eyes, and holds the wy'ra-lotus with his left hand made by the karma-mudrd known as the supreme s a m a d h i.Fourth, Lokesvara when having four faces (called PadmamogheSvara) has the bodily form of Mahadeva, four faces (i.e. blue, yellow, red and green faces) each with a third eye, makes offering-gesture with his first right hand, holds a lotus with his second right hand, a three pronged lance with his first left hand, and a sword with his second left hand.


The sixteen deities surrounding the four images of Lokesvara in this mandala are called the Mahasattva Padmacihnadharas (Lotus-sign-holders) because each has the image of Lokesvara or Avalokitesvara and symbolise the compassion and mercy of the lotus. Thus, each image of these sixteen Padmacihnadharas is the fusion of the image of Lokesvara or Avalokitesvara and the corresponding deity out of sixteen Mahabodhisattvas of the Vajradhatu Mahamandala. Sakyamitra describes the detailed images of these sixteen Padmacihnadharas

(1) Padmabuddha or Buddhapadma: the body of the Buddha (Sakyamuni) united with Vajragarva (referring to the bodily image or maha-mudrd of Vajrasattva) in the position of Vajrasattva of the Vajradhatu Mahamandala.

(2) Padmaraja: the image of Lokesvara endowed with the image of Vajraraja in place of Vajraraja, who has four hands, i.e. holding a vajra and a sword with his two right hands and holding a lotus and a hook with his two left hands.


(3) Padmaraga: the image of Lokesvara endowed with the image of Vajraraga in place of Vajraraga.


(4) Padmasadhu: the image of Lokesvararendowed with the image of Vajrasadhu in place of Vajrasadhu.


(5) Padmabhrkuti: the image of Lokesvara endowed with the image of Vajraratna in place of Vajraratna, holding a lotus with one hand and holding a garland, a stick and a rope (?) with his other three hands.42


3S. Ibid., p. 17-4-7-8.

39. Ibid., p. 17-5-3-4.

40. Ibid., p. 18-1-5-6.

41. Ibid., p. 18-2-3-5. According to Sakyamitra,

Avalokitesvara or Lokesvara having four faces holds a lance with his right hand and a lotus with his left hand. (.Kosaldlamkdra, TTP. Vol. 71, No. 3326, p. 19-2-8-3-1).

42. Anandagarbha comments that Padmabhrkuti indicates the Lord Akasagarbha. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 12-4-4).


(6) Padmasurya: the image of Lokesvara endowed with the image of Surya (or Vajratejas) in place of Vajratejas.

(7) Padmalcetu: the image of Lokesvara endowed with the image of Candra (or Vajraketu) in place of Vajraketu, holding a lotus-jewel-banner.

(8) Padmahasa: the image of Lokesvara possessing eleven faces (these faces are grouped into five, three, two and one) in place of Vajrahasa.

(9) Padmatara or Tarapadma: the image of Lokesvara meditating on the mudra of lotus in place of Vajradliarma.43

(10) Padmakumara: the image of Lokesvara possessing six youthful faces (or possessing the image of Kumara) and holding a lotus, a lance and a sword in place of Vajratiksna.

(11) Padmahetu: the image of Lokesvara endowed with the image of Visnu in place of Vajrahetu, who has four hands holding a wheel and a stick with his two right hands and holding a lotus and a conch shell with his two left hands.

(12) Padmabhasa: the image of Lokesvara endowed with the image of Vajra- Brahma (?) in place of Vajrabhasa.

(13) Padmanartesvara: the image of Avalokitesvara endowed with the image of Nartesvara in place of Vajrakarma.

(14) Padmaralcsa: the image of Avalokitesvara endowed with the image of Vajraraksa in place of Vajraraksa.

(15) Padmayaksa: die image of Avalokitesvara endowed with the image of Vajrayaksa in place of Vajrayalcsa.

(16) Padmamusti: the image of Avalokitesvara possessing the vq/ra-fists in place of Vajramusti or Vajrasandhi.


The images of the eight Offerings in this mandala are the same as those of the Vajradhatu Mahamandala, but they hold their own symbols signified by the lotus. The four Door-guardians in this mandala, i.e. Padmarikusa (or Hayagriva), Padmapasa (or Amoghapasa), Padmasphota and Padmavesa (or Padmaghanta), basically have the images of Avalokitesvara and hold their own symbols, i.e. the lotus-hook, lotus-noose, lotus-chain and lotus-bell. According to Sakyamitra, Padmarikusa represents Avalokitesvara endowed with the image of Hayagriva,45 and Padmavesa represents Avalokitesvara possessing six youthfiil faces.46


43. Kosalalamkdra reads: “in place of Lokesvara”, but it misreads “Vajradharma” as “Lokesvara”.

44. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 19-l-6~3-3.

As can be seen, Sakyamitra mostly focuses on the image of the deities, but Anandagarbha provides some more detailed descriptions such as body-colours and symbols. (Tattvdloka, TTP. Vol. 72, No. 3333, pp. 17-4-8-18-3-1).

45. Chandra Das explains in his Tibetan-English Dictionary (p. 530) that Hayagriva (Tibetan rtamgrin) is the name o f the deity who has a man's body and a horse's head. This deity neighs fearfully to frighten those who are a danger to Buddhism.

46. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 19-3-4~8.


According to Anandagarbha, like the Vajradhatu Mahamandala, this mandala contains the Bhadrakalpa Mahabodhisattvas such as Maitreya, positioned towards the four directions of the external mandala. He adds that they assume the meditation postures and hold their attributes, i.e. each of them in the east holds the lotxis-vajra and bell; each in the south holds the gem-lotus; each in the west holds the vajralotus; and each in the north holds the crossed-lotus.


b. Entry into the Mandala


Since the Sakalajagadvinaya Mahamandala belongs to the Lotus-family, most terms employed in this mandala ritual are related to the lotus, and the colour used in this ritual is white. Thus, the master gives his pupil the lotus-emblem (and the lotusname) as the consecration in the fmal stage of the ritual. The basic format of this ritual follows the ritual of the Vajradhatu Mahamandala.

(1) The lotus-master48 makes the hand gesture {samaya-mudra) of the vajralotus, 49 and enters (the mandala). Then, he performs the actions by referring to the Vajradhatu Mahamandala50 while reciting the hrdaya (of taking possession of deities): “OMPADMA SPHOTADHITISTHA AH”.

(2) Then, in accordance with (the rite described in the Vajradhatu Mahamandala), he receives the command (given by the main thirty-seven deities of this mandala)', he consecrates himself with the samaya-mudrds (of the thirty-seven deities); he seizes the image of the lotus; he pronounces his own lotus-name; he performs the actions (i.e. summoning, drawing in, binding and subduing all the deities of this mandala) with Padmahkusa and the others, i.e. (Padmapasa, Padmasphota and Padmavesa); and he directs the Mahasattvas (referring to the thirty-seven deities) with the dharma-mudrds.51 As a result, he acquires the attainments (siddhis). (3) After this, he should guide his lotus-pupil to enter (this mandala).51 At first, he gives tire vow-hrdaya to his lotus-pupil, and utters: “Now, Padmasattva himself 47. Tattvdloka, TTP. Vol. 72, No. 3333, p. 17-4-2-5.

48. Anandagarbha comments that the lotus-master means one who teaches the mahayoga of Jagadvinaya (referring to Avalokitesvara) and the empowerment. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 19-1-8-2-1).

49. According to Sakyamitra, the samaya-mudra of the vay'ra-lotus means the samaya-mudrd of the Lotus-family, and the essential characteristic of this mudra can be understood from the mudra of Sattvavajri. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 19-4-3).

50. Sakyamitra explains that the master clasps a garland with the hands formed into the samayamudrd of the Lotus-family while reciting the vow-mantra, and presents it to Avalokitesvara Jagadvinaya. Then, he imagines that all of his intended tasks are accomplished by means of generating in his mind the nature o f the Lord Avalokitesvara. (Kosaldlarnkara, TTP. Vol. 71, No. 3326, p. 19-4-4-6).


51. Chinese 2 reads: “karma-mudras”.


Anandagarbha comments that the dharma-mudrds in this rite do not refer to the mantras, but the hand gestures (samaya-mudrds). (Tattvdloka, TTP. Vol. 72, No. 3333, p. 19-4-3—8). 52. Anandagarbha explains that after his activities, the master blesses his pupil in the form of Jagadvinaya (or Lokesvara), and guides his pupil to enter the mandala. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 20-5-2-3).


exists in you.”53 Then, he gives an order to his pupil:54 “You should not tell this secret precept to anyone, otherwise you will die without avoiding misfortune and will fall into hell.”

(4) Next, the pupil makes the samaya-mudrd (of Dharmavajri) while reciting the hrdaya: “OM VAJRA PADMA SAMAYAS TVAM”. Then, the pupil who wears a white upper garment and whose face is covered with a white bandage enters the mandala while reciting the hrdaya: “OM PADMA SAMAYA H U M \

(5) After this, the pupil duly performs (all the appropriate) actions (including throwing the garland into the mandala in order to choose his deity),55 and is given the lotus-image (padma-vigraha)56 into his hand while reciting the hrdaya: “OM PADMA HAST A VAJRA-DHARMATAM PALAYA”. Then if the pupil asks: “What is the nature of the lotus57?”, the master answers: “As this red58 lotus is not stained by noxiousness, so one will not be stained by sin as long as one conceives of the purity of all.” This is the nature (of the lotus).59

In this rite, the last statement about the nature of the lotus means that even though the sddhaka does some actions which seem to be against ordinary morality, he will receive no karmic result as long as he follows the master's instruction faithfully and does not lose his concentration during the rite. Thus, the purpose is to help the sddhaka to eliminate the feeling of uneasiness and to boost the confidence about all his performances.


3. Mudra Rites

a. Mudra-Knowledge


The attainment-knowledge of the Sakalajagadvinaya Mahamandala entitled “Padmakulamudrdjhdna (the mudra-knowledge of the Lotus-family)” consists of the following sixteen samadhis, in four groups of four, which are the means of subjugating or converting the whole world and gaining supernatural powers.

“If one draws a lotus over one's heart, and meditates on the lotus in one's heart, one can control Padmasri, and controlling the ordinary female (deities) needs not be mentioned. If one draws the image of the Buddha over one's forehead, and meditates on it repeatedly, one can obtain the consecration immediately while meditating upon it.

53. Tibetan reads: “ in your heart”. Chinese 2 reads: “Now, this rite is the secret of Padmasattva's own family.”

54. Chinese 2 omits.

55. Chinese 2 adds: “(the master) removes the face-covering (of his pupil).”

56. Anandagarbha interprets the lotus-image as the va/ra-lotus and the lotus-bell. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 22-4-1-2).

57. Only Sanskrit reads: “vq/ra”, instead of “lotus”.

58. Chinese 2 omits: “red”. Tibetan reads: “white”.

59. S. pp. 328-329, T. p. 256-1-1-2-1, C2. p. 401-2-24-3-23.

60. S. pp. 330-333, T. p. 256-2-2-4-1, C2. pp. 401-3-24-402-3-9.


If one meditates on the image of the Buddha inside one's mouth, and extends it towards one's tongue, the Goddess Sarasvati herself remains in one's mouth perpetually.

If one places a lotus in the centre of one's crown with a wellconcentrated mind, and meditates upon the lotus on one's crown, one can subjugate (deities) who are wandering in space.”

According to Anandagarbha,61 all die four samddhis corresponding to the descriptions of die four segments in this quotation begin with performing deityyoga. For example, in the first segment, if the sddhaka generates his deity as himself, and attains the vajra-lotus in his mind, he can become identical to Avalokitesvara, and then he can control not only Padmasri (referring to the Avalokitesvara's consort), but also all the female Yaksas such as Uma by the four Door-guardians. However, Sakyamitra62 regards ‘the lotus’ in the first segment as the image of Avalokitesvara and interprets ‘the image of the Buddha’ in the second segment as generating the image of Avalokitesvara and meditating on the body of Amitabha. Similarly Sakyamitra regards ‘the image of the Buddha’ in the third segment as referring to die image of Avalokitesvara and interprets ‘the lotus at the centre of the crown’ in the fourth segment as meditating on a lotus at the centre of the crown and generating the image of Avalokitesvara having four faces. In conclusion, this rite shows the means of the attainments gained by generating and visualising the lotus or the image of Avalokitesvara in the four meditation places in the sddhaka}s body, i.e. heart, forehead, tongue and crown.

“If one visualises the supreme63 lotus on the wall or in the sky, this is the supreme subjugation of all living beings. While visualising the supreme lotus in the sky or in another place, if one can see and hold it, one can move invisibly at will. While meditating on the crossed lotus on the wall or in the sky, if one can see and hold it, one can assume various forms. While visualising the vo/ra-lotus in the sky or in another place, if one can (see and) hold it, one can become a Padmavidyadhara instantly.”

This rite is executed in deity -yoga. The first segment of this quotation means that if the sddhaka practises his deity -yoga, and visualises the pure lotus on the wall or in the sky, and then places and meditates it on the heart of any one to be subjugated, that one will be subjugated. Sakyamitra64 comments that since the sddhaka does not look at the external object, i.e. the lotus, but perceives it with the mind, this method is called supreme. The three samddhis described in the other three segments indicate


61. Tattvdloka, TTP. Vol. 72, No. 3333, p. 24-1-4-3-1.

62. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 20-3-1-4-5.

63. Chinese 2 reads: “supreme pure”. Sakyamitra also interprets “supreme” as bright or pure. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 20-4-6).

64. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 20-4-7—8.


the means of gaining three different supernatural powers by means of meditating on three lands of lotus until obtaining the sign. According to Sakyamitra,65 the three benefits or supernatural powers gained as a result of these three samddhis are related to the Gem-family, the Buddha-family and the Dharma-izxmly respectively. "If one draws Lokesvara (or Avalokitesvara) in the mandala or in any other place, one can attract (the world) in front of him by means of the supreme mudra of Hayagriva. If one draws Lokesvara in the mandala or in any other place, one can subjugate the world (in front of) him by means of the (supreme) mudra of Amoghapasa.

If one draws Lokesvara in the mandala or in any other place, one can bind (the world) in front of him by means of the supreme mudra of Padmasphota,

If one draws Lokesvara in the mandala or in any other place, one can attain the supreme possession of all in front of him by means of (the supreme mudra of) Padmaghanta.”

These four samddhis correspond to summoning, drawing in, binding and subduing all living beings by means of the four Door-guardians, i.e. Hayagriva (or Padmankusa), Amoghapasa (or Padmapasa), Padmasphota and Padmaghanta (or Padmavesa), while practising the yoga of LokeSvara (or Avalokitesvara). “If one visualises oneself as the four-lotus-faced (Maha-) Sattva (referring to Lokesvara),66 and one is successful, one can assume various forms instantly.

If one visualises oneself as the lotus above the lotus (symbolising Lokesvara abiding in meditation), one can obtain the lotus-words67 while being united in the samadhi of Vajradharma. If one visualises oneself as the image of the Buddha (Amitabha) in the centre of the twisted hair of Lokesvara, one can become identical to Amitayus.

If one visualises oneself as (the image of Lokesvara emitting) all forms in samadhi, one can become identical to Lokesvara while joining in the samadhi of (Lokesvara emitting) all forms.” This rite refers to the means of generating and visualising the four images of Lokesvara or Avalokitesvara drawn in the Sakalajagadvinaya Mahamandala, i.e. Lokesvara emitting all forms at the eastern quarter; Lokesvara having the image of the Tathagata Amitabha in the centre of his twisted hair at the southern quarter; Lokesvara abiding in meditation at the western quarter; and Lokesvara having four faces holding his symbol at the northern quarter. The order of the above four

65. Ibid., pp. 20-5-1-21-1-2.

66. Chinese 2 reads: “the four Mahasattvas at the four lotus-gates”.

67. Tibetan reads: “the imperishable dignity”. Chinese 2 reads: “the true words”.


samddhis begins with the image of Lokesvara at the northern quarter and ends with Lokesvara at the eastern quarter. In conclusion, as David Snellgrove points out,68 most rites described in part three do not differ in any significant way from those of the previous two parts because the lotus and the image of Lokesvara (or Avalokitesvara) merely replace the vajra and the image of Vajrasattva' (or Vajrahumkara in part two) as the central object of meditation.


h. Rites of the Four Mudrds


b-1. Mahamudra Rite


The STTS describes the basic and common method of binding all the mahdmudrds of the main thirty-seven deities of the Sakalajagadvinaya Mahamandala where the sddhaka sits on the centre of the lunar disc of his deity drawn in his mind in accordance with the rules of drawing the mandala, and then visualises himself as the bodily image of his deity abiding on the lotus-seat.69 The STTS also describes die benefits of the mahdmudrds of the thirty-seven deities of this mandala. For example, the benefit of the mahdmudrd of Vairocana is that if the sddhaka binds the mahdmudrd of the Buddha (referring to the visualisation of the bodily image of Vairocana), he can become identical to Amitayus.


b-2. Samayamudrd Rite


The methods of binding all the samayamudrds of the Sakalajagadvinaya Mahamandala begin with forming the vajra-bond (vajra-bandha) or the vajraahjali. The STTS describes the methods of forming the samayamudrds of the thirty-seven deities and their benefits. The method of forming the samayamudrd of Vairocana, for example, is that if one forms the vajra-bond (described in the Vajradhatu Mahamandala) and raises the thumbs and little fingers equally, whose mudra is (known as) the Dharma-pledge (dharma-samaya), one gains the Buddha-dharma.11


b-3. Dharmamudra Rite


Concerning the dharmamudrds of the Sakalajagadvinaya Mahamandala, the STTS72 provides only the sixteen individual syllables, which correspond to the sixteen Padmacihnadharas of this mandala. According to Anandagarbha,73 among these sixteen, the first, fifth, ninth and thirteenth syllables, i.e. H R lj4 Sr I, G if5 and


68. David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, p. 52.

69. S. p. 334-3-4, T. p. 256-4-2, C2. p. 402-3-12-13.

70. S. p. 334-6, T. p. 256-4-3, C2. p. 402-3-15.

71. S. p. 336-2-3, T. p. 256-5-2, C2. p. 403-1-7-8.

72. S. p. 339-4-6, T. p. 257-2-6, C2. p. 403-3-9-25.

73. Tattvdloka, TTP. Vol. 72, No. 3333, p. 28-1-7-2-5.


74. Tattvdloka reads: “HRI


refer to not only the four Padmacihnadharas (i.e. Padmabuddha, Padmabhrkuti, Padmatara and Padmanartesvara respectively), but also the four Lokesvaras (i.e. Jagadvinaya, Jatabuddha, Padmasamadhi, and Padmamoghesvara) and the four Paramitas, The common method of perfecting these dharmamudras is to place the relevant syllable on the visualised deity's tongue. However, in case of Vairocana, the vajra, instead of the syllable, is placed on the visualised Vairocana's tongue.


b-4. Karmamudra Rite


The STTS11 explains only the characteristic of the karmamudrds of the Sakalajagadvinaya Mahamandala that one makes the lotus-fist (referring to the fist described in the samaya-mudrd of the Lotus-family) into two, and accomplishes the karma-mudras. According to Anandagarbha,78 the karmamudra of Vairocana is the same as die description in the Vajradhatu Mahamandala, i.e. raising the left lotus-forefmger inside the right fist, which is known as supreme enlightenment and bestowing the enlightenment of the Buddha.


4. Conclusion

The SaJcalajagadvinaya Mahamandala representing the Compassionate Body of Avalokitesvara or Lokesvara who is known as the head of the realm of sentient beings belongs to the Lotus-family, which is symbolised as an eight-petalled lotus drawn in the centre of the mandala. The main thirty-seven deities placed in this mandala have various images of Avalokitesvara because they are the manifestations of Avalokitesvara. Thus, the main purpose of this mandala is to guide the sddhaka to generate in his mind the compassionate and merciful thought of Avalokitesvara by means of meditating on the bodily image of Avalokitesvara, and to convert all sentient beings by means of using the various supernatural powers gained through this mandala.


75. TattvaloJm reads: “GRT\

76. Tattvdloka reads: UBRT’.

77. S. p. 339-7, T. p. 257-2-6, C2. p. 403-3-26.

78. Tattvdloka, TTP. Vol. 72, No. 3333, p. 28-2-6-7.


Chapter 16. Padm aguhya Mudramandala


Chapter 16 of the STTS79 provides an exposition of the Padmagiihya Mudramandala, which is classified as the dharani-mandala and constitutes the supreme samaya-mudrd of the Lotus-family. This mandala focuses on the Compassionate Mind of Avalokitesvara abiding in the heart of Vairocana, and also the main thirty-seven deities. Like the previous dhdrani-mandalas, all of these deities are generated in the form of goddess by the samadhi, and are represented by their symbols.


1. Structural Analysis o f Chapter


(1) The first section of chapter 16 of the STTS starting with the words, 'Then the Lord”80 and ending with the words, “OMKARMA SAMAYE HUM”,m provides an exposition of the second samadhi called the supreme mandala-king of the Padmaguhya Mudramandala. This section displays only the samadhis of the five deities, i.e. Vairocana, Vajrapani, Vajragarbha, Vajranetra and Vajravisva. (2) The next section starting with the words, “Then, the Lord82 Bodhisattva83 Avalokitesvara”84 and ending with the words, “One should remove the facecover”, 85 explains the mandala-htQS of the Padmaguhya Mudramandala. This section includes the feminine names of the thirty-seven deities of the Padmaguhya Mudramandala in the form of hrdaya.

(3) The next section starting with the words, “(The master) should generate the knowledge in conformity with the vessel (of his pupil)”86 and ending with the words, “OM VISVA-PADMA SAMYOGA SADHAYA STRIH” ™ explains the attainment-knowledge of the Padmaguhya Mudramandala consisting of sixteen samadhis. This section also explains a secret rite consisting of four secret samadhis.


(4) The final section starting with the words, “Then, one should accordingly teach the knowledge of the mahd-mudrds of the secret (goddesses) of the Lotusfamily”


88 and ending with the words, “One should make the 89fist into two”,90

79. S. chapter 16, pp. 340-355, T. pp. 257-2-7-259-1-2, C2. pp. 403-3-27-407-2-13.

80. atha bhagavam: S. p. 340-2, T. p. 257-2-7, C2. p. 404-1-1.

81. S. p. 341-4, T. p. 257-3-3, C2. p. 404-1-15.

82. Tibetan omits: “Lord”.

83. Tibetan reads: “Mahabodhisattva”. Tattvaloka and Chinese 2 both read: “Bodhisattva Mahasattva”.

84. atha bhagavdn dryavaloldtesvaro bodhisattva: S. p. 341-5, T. p. 257-3-3, C2. p. 404-1-16.

85. mnkhabandham muldva: S. p. 347-4-5, T. p. 257-5-8, C2. p. 405-2-8.

s6. yathd bhajanatayd jhdndny utpadayet: S. p. 347-5, T. p. 257-5-8, C2. p. 405-2-8-9.

87. S. p. 351-14, T. p. 258-3-4, C2. p. 406-2-18-19.

88. tato yathavat padmalculaguhya mahdmudrajndnam bhavati: S. p. 352-1, T. p. 258-3-4-5, C2. p. 406-2-20.

89. Tattvaloka inserts: “secret”.

90. mastir eva dvidhih'teti: S. p. 355-9-10, T. p. 259-1-1, C2. p. 407-2-13.


describes the rites of binding the four mudras of the Padmaguhya Mudramandala. All the mahd-mudrds of the Padmaguhya Mudramandala appear in the form of the hand gesture as in the case of those of the previous dhdrani-mandalas (ch. 2, 7 and l l ).


2. Structure o f the Padmaguhya Mudramandala


“The supreme Mudramandala92 (of the Lotus-family) has the basic design of the Vajradhdtu (Mahamandala) and is called ‘Padmaguhya (Lotus-secret)’.

The whole mandala should be designed in conformity with the (Sakalajagadvinaya) Mahamandala. One , should draw Vajradhatvisvari (referring to the stupa well placed)93 on the excellent lotus (drawn) at its centre. On all (four) sides of it, one should draw, in conformity with the previous (Sakalajagadvinaya Mahamandala), the (four) supreme Samayas,94 i.e. (the symbols of) Dharmavajri and the others, which are drawn in accordance with sQlf-vidyds. (These four symbols are a vajra, a gem, a lotus and a crossed lotus drawn on the four lotus-seats).

Having approached the first mandala of Visvarupa (referring to the mandala of Jagadvinaya in the eastern quarter) with the vajraimpulse, 95 one should draw a lotus96 surrounded by (minute) lotuses (like a circle) at its centre. On all (the four) sides of it, one should draw the (four) Bodhisattvas1 own symbols (endowed with) the lotus characteristics and positioned on the lotuses, (i.e. (1) a five-pronged vajra signified by the lotus, whose head faces the east, (2) a lotus-hook, a sword, a vajra and a lotus, (3) both an arrow and a bow of the lotus, and (4) the two fists whose fingers of clasping a lotus are snapped97).

Having approached the second mandala (in the southern quarter) with the vq/ra-impulse in the same way, one should draw Buddhabhiseka, i.e. a great lotus98 (on the throne of Amitabha placed) in the centre of the twisted hah (of Avalokitesvara).99 On all (four) sides of it, one should duly place the (four) supreme


91. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 141-4-2-5-4.

9 2 . Chinese 2 reads: “Samayamudramandala”.

93. The meaning of the term Vajradhatvisvari has already been defined in the Vajragtthya Vajramandala (ch. 2) as, “The stupa (caitya), well placed on the seat (patyahka), is called Vajradhatvisvari (Queen of the Vajradhdtu).”

94. Chinese 2 reads: “the mudras of the leading Samayas”.

95. According to £akyamitra,-the va/ra-impulse refers to reciting the relevant manti-a and binding the relevant mudrd. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 25-5-7-8).

96. According to Anandagarbha, a lotus refers to a vo/ra-lotus with light-red-coloured sixteen petals. (Tattvalolca, TTP. Vol. 72, No. 3333, p. 29-3-2-3).

97. Tattvaloka, TTP, Vol. 72, No. 3333, p. 29-3-3-4.

98. According to Anandagarbha, a great lotus refers to a va/ra-lotus with sixteen petals. (:Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-3-4-5).

" . Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 26-2-3.


samaya mudras) endowed with the lotus characteristics in correct order, (i.e. (5) a wish-granting-gem signified by the lotus, (6) a sun-disc in the lotus-centre, (7) a banner haying the top of the wish-granting-gem signified by the lotus on the half moon, and (8) a set of teeth inserted between the two five-pronged vajras signified by the lotus.

Having approached the third mandala (in the western quarter) with the vay'ra-impulse, one should place the lotus-mudrd on the excellent lotus (referring to a vajra on a lotus with sixteen petals101) at its centre. In the same way, on all (four) sides of it, one should duly draw (the four symbols) endowed with die lotus characteristics on the lotus-seats in correct order, (i.e. (9) a vajralotus, (10) a sword signified by the lotus, (11) an eight-spoked vajra-wheel, a conch shell, a club and a lotus in the lotus-centre, and (12) a tongue signified by the lotus ).

Having approached the fourth supreme mandala (in the northern quarter) with die vq/ra-impulse, one should draw a lotus possessing brightness surrounded by the blazing garland in the centre of a lotus.103 On all (four) sides of it, one should duly draw (the four symbols endowed with) the lotus characteristics positioned in the centres of the lotuses in correct order, (i.e. (13) a crossed lotus seized by the dancing-hands, (14) a suit of armour signified by the lotus, (15) a set of teeth signified by the lotus, and (16) a five-pronged vajra signified by the lotus, which is gripped by die fists made by the samaya-mudra of the Lotus-family104). Having approached with the vq/ra-impulse, one should draw (the symbols of eight) Buddha-Offerings, and also the symbols (of the four female Guardians), i.e. PadmankusI and the others, which are endowed with the lotus characteristics.”

The images of the deities drawn in the previous Sakalajagadvinaya Mahamandala are replaced by their symbols in this mandala. A main characteristic is that all the symbols drawn in this mandala are signified by the lotus symbolising the Lotusfamily. As can be seen, since the STTS does not provide detailed information about the sixteen Padmacihnadharas' symbols, the above quotation is reconstructed with the help of commentaries. Thus, the indicated numbers refer to the sixteen Padmacihnadharas1 symbols in correct order. In addition, the symbols of the eight Offerings and the four Guardians are the same as the symbols drawn in the Vajraguhya Vajramandala (ch. 2), the only difference being that they are signified


I0°. Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-3-5-6.

101. Ibid., p. 29-3-6-7.

102 Ibid., p. 29-3-7-8.

103. Anandagarbha simply describes this symbol as a four-petalled crossed lotus. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-3-8).

104 Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-3-8-4-1.

105. S. pp. 341-7-345-5, T. p. 257-3-3-5-1, C2. pp. 404-1-18-405-1-3.


by the lotus. According to Anandagarbha, this mandala has the symbols of the Bhadrakalpa Mahabodhisattvas, i.e. the lotus-va/ras and bells in the east, the gemlotuses in the south, the vq/ra-lotuses in the west, and the crossed-lotuses in the north, all of which are wrapped in the blazing garlands.


3. Attainment-Knowledge


The attainment-knowledge of the Padmaguhya Mudramandala consists of sixteen samadhis, which are divided into four groups, i.e. Uttamasiddhinispattijhana, Arthanispattijhdna, Anuraganajhana and Abhicarajnana. Each group consists of four samadhis corresponding to four mudras. These four kinds of knowledge are taught by the master according to the capacity of his pupil. The capacity of the pupil is decided by a test in die mandala-rite. When the pupil enters the mandala, the master asks his pupil; “What kind of light have you seen?” If the pupil sees the white light, the master teaches the Uttamasiddhinispattijhana. If he sees the yellow, ■ the master teaches the Arthanispattijhdna. If he sees the red, the master teaches die I Anuraganajhana. If he sees the black, the master teaches the Abhicarajnana. If he j sees various colours, the master teaches all these four kinds of knowledge. According to the STTS, this test also can be applied to all the mandalas including the Vajradhdtu Mahamandala.


a. Uttamasiddhinispattijhana


The Uttamasiddhinispattijhana refers to gaining the supreme attainments of the four deities occupying the positions of the four Tathagatas in this mandala. “If one visualises oneself as the bodily image {mahd-mudrd) of the Mahasattva Lokesvara (or Avalokitesvara) assuming universal form (yisvarupa), one can gain the supreme attainment. If one meditates on the samaya (-mudrd) consecrated by the Buddha (Amitabha) steadfastly, and visualises oneself (as Jatabuddha), one gains the supreme attainment.

If one visualises oneself as the Mahasattva Padmapadma with a well-concentrated mind, one gains the supreme attainment. If one accomplishes the karma-mudra endowed with the selfexistent Amoghesvara in conformity with the rite, one can gain the supreme attainment quickly.”

This rite means that if the sadhaka visualises himself as the four deities, i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara, who represent the four families and the four mudras in this mandala, together with performing the four mudras of these four deities, he gains the powers of the four deities. b. Arthanispattijhdna

106. Tattvaloka, TTP. Vol. 72, No. 3333, p. 29-4-5-6.

107. S. pp. 346-13-347-8, T. pp. 257-5-5-258-1-1, C2. p. 405-2-2-12.

108. S. pp. 347-10-348-2, T. p. 258-1-1-4, C2. p. 405-2-24-3-5.


The Arthanispattijhdna refers to gaining gems by the deity-yoga of LokeSvara. “If one (imagines) placing a piece of gold inside one's mouth in conformity with the rite, and visualises oneself as the bodily image (maha-mudra) of Visvesvara (referring to Jagadvinaya), one can transform a piece (of gold) up to one thousandfold. If one (imagines) seizing a one-eighth ounce of gold while making the supreme samaya (-mudra) (of Lokesvara) steadfastly, and visualises oneself (as LokeSvara), one can transform a piece (of gold) up to one thousandfold.

If one (imagines) placing a pearl inside one's mouth in conformity with the rite, and visualises oneself as Lokesvara, one can transform a piece (of gold) up to one thousandfold. If one (imagines) seizing all gems with both hands while forming the karma-mudra (of Lokesvara), and visualises oneself (as Lokesvara), one can transform a piece (of gold) up to one thousandfold.”

This rite explains the means of transforming into gold by means of performing either the four mudras of Lokesvara or the four mudras of the sddhaka's chosen deity. According to Anandagarbha, in this rite, the sddhaka should visualise his deity as having a yellow body and gratify the deity in order to gain gems.110 c, Anuraganajhana The Anuraganajhana refers to gratifying the female deities by the deity -yoga of Lokesvara.

“If one visualises oneself as the bodily image (mahd-mudrd) of Visvesvara (referring to Jagadvinaya) while clasping the (red) lotus, and abides (in meditation) in front of some (female deity to be accomplished), one can gratify that (female deity). If one clasps the red lotus firmly (with the hand gestures) made by the great samaya-mudra (of Lokesvara), and visualises oneself (as Lokesvara), one can gratify all female (deities). If one visualises oneself (as Lokesvara) while clasping the lotus in the same way, and beholds (the whole world) with the vajravision, one can gratify the whole world.

If one (visualises oneself as Lokesvara) while clasping the lotus (with the hand gestures) made by the karma-mudra (of Lokesvara) in conformity with the rite and turning it round with both hands, one can gratify all female (deities).”

In order to help the sddhaka to gratify and control the female deities manifested as the symbols in this mandala, this rite suggests the means of performing the four mudras of Lokesvara. In addition, the red lotus symbolising passion is used as an aid in this rite.

109. S. p. 348-9-16, T. p. 258-1-5-8, C2. p. 405-3-12-19.

110. Tattvaloka, TTP. Vol. 72, No. 3333, p. 30-5-8.

11 k S. p. 349-7-14, T. p. 258-2-1-4, C2. pp. 405-3-27-406-1-6.



d. Abhicarajnana


The Abhicarajnana refers to destroying the deities by the deity -yoga of Lokesvara. “Visualising oneself as the bodily image (mahd-mudrd) of Visvesvara (referring to Jagadvinaya),112 if one cuts off the lotus in front of some (deity), one can instantly cause that (deity) to die.

Clasping the lotus steadfastly in the right manner, and destroying it entirely by means of the supreme samaya (-mudra) (of Lokesvara), one can destroy (the deity) whose name is pronounced.

Uniting with the samddhi-mudra (referring to Padmasamadhi), and clasping the lotus in the same way, if one cuts off the lotus, one can destroy (the deity) whose name is pronounced. Clasping the lotus in conformity with the rite by means of the karma-mudra (of LokeSvara),114 if one in wrath wishes to destroy some (deity), one can deprive (that deity's) of life.”

This rite explains that if the sddhaka generates the wrathful thought and attains the four deities, i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara, having the images of Lokesvara and representing the four mudras, he can destroy the deities by means of using the lotus, which symbolises the heart of the deity.


e. Secret Rite


The STTS in this section explains a secret rite consisting of four secret samadhis, entitled ‘Dharma-samaya-rahasya-mudrd-jhdnaj whose meaning is interpreted by Sakyamitra as the secret knowledge of the samaya-mudrds of the Dharma-f&mily (or Lotus-family).

“While assuming a female (deity) (of this mandala) as the lotus117 and also (assuming) oneself as the vajra placed upon it (the lotus), if one amuses the supreme Vajrapadma in samdpatti, one gains the attainment

While assuming a female (deity) as the lotus (placed on the twisted hair of Lokesvara) and also (assuming) oneself as the Buddha (Amitabha) upon it (i.e. Amitabha in the centre of the twisted hair of Lokesvara), if one amuses Buddhamukuta in meditation, one gains the attainment.


112. Tibetan reads: “Visvajnanamahesvara”.

113. Tibetan adds: “by means of the mudra-lotus”.

114 Tibetan reads: “forming the karma-mudra, revolving it and throwing it down”.

115. S. p. 350-5-12, T. p. 258-2-5-7, C2. p. 406-1-13-20.

116. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 27-4-1-2. 11?. Sakyamitra interprets the lotus as referring to the lotus-seat, but Anandagarbha regards it as the vajra-lotus of Jagadvinaya. (Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 27-4-3;

Tattvaloka, TTP. Vol. 72, No. 3333, p. 32-1-1).


While assuming a female (deity) as the lotus and also (assuming) oneself as the lotus placed upon it, if one amuses the supreme Padmapadma, one obtains the attainment of purity.

While assuming a female (deity) as the lotus and also (assuming) oneself as the crossed (lotus) placed upon it, if one amuses the supreme Visvapadma, one obtains the universal success.”

This rite refers to being identical to the four deities, i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara, by means of the union between the four deities visualised as the sddhaka himself and the consorts of the four deities manifested as symbols in this mandala. David Snellgrove regards this rite as referring to gaining success by means of sexual yoga.


4. Conclusion


Three characteristics of the Padmaguhya Mudramandala, which represents the Compassionate Mind of Avalokitesvara, are significant: firstly, all the symbols drawn in this mandala are signified by the lotus symbolising the Lotus-family; secondly, the rite of entry into this mandala explains a test which helps the master to decide the capacity of his pupil and can be applied to the other mandalas; finally, the attainment-knowledge of this mandala refers to the means of attaining the four goals, i.e. the supreme attainment (siddhi), the acquisition of gold, gratification and destruction, by means of visualising the four images of Avalokitesvara or LokeSvara as well as performing the four mudras of Aval okiteSvara.


118. S. p. 351-2-9, T. p. 258-3-1-3, C2. p. 406-2-3-10. 119. David Snellgrove, Sarva-Tathagata-Tattva-Sangraha, Introduction, p. 53.


Chapter 17. (Padmakula) Jnanamandala


Chapter 17 of the STTSm provides an exposition of the {Padmakula)

Jnanamandala, which is classified as the dharma-mandala and constitutes the supreme dharma-mudrd of the Lotus-family. This mandala focuses on the Compassionate Speech of Avalokitesvara abiding in the heart of Vairocana, and also the main thirty-seven deities. Since this mandala symbolises the knowledge of the Lotus-family, the names of the main thirty-seven deities of this mandala have the wordknowledge (jndna)\ For example, the names of the five deities of the Sakalajagadvinaya Mahamandala, i.e. Vairocana (centre), Jagadvinaya (east), Jatabuddha (south), Padmasamadhi (west) and Padmamoghesvara (north), are changed into Jnanabuddha (centre), Jnanavisvesvara (east), Jnanabuddhamukuta (south), Jnanadharmesvara (west) and JnanamogeSvara (north).


1. Structural Analysis o f Chapter 17


(1) The first section of chapter 17 of the STTS starting with the words, “Then once again the Lord entered the samadhi called the Lotus Generated and Empowered from the Pledge of the Z)/*arma-Pledge122-Knowledge of all the Tathagatas”123 and ending with the words, “OM KARMA-DHARMA H U M \124 provides an exposition of the second samadhi called the supreme mandala-king of the {Padmakula) Jnanamandala.


(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva Avalokitesvara”125 and ending with the words, “You will be tormented”,126 explains the mandala-ntes of the {Padmakida) Jnanamandala. This section is divided into two parts, i.e. the first part (the mandala-constniction) consisting of a brief description of characteristics and the hrdayas referring to the main deities' names of this mandala, the second part (entry into the mandala) focusing briefly on the maldng of a vow.

(3) The next section starting with the words, “Then, one should generate this knowledge”127 and ending with the words, “OM KARMA-PADMA HOPT\m explains the attainment-knowledge of the {Padmahda) Jnanamandala consisting of sixteen samadhis, which suggest the means of attaining four kinds of supernatural powers such as flying.


l2°. S. chapter 17, pp. 356-364, T. p. 259-2-1, C2. p. 407-3-12-16.

121. S. p. 358-2-6, T. p. 259-1-2-4-7, C2. pp. 407-2-14-409-1-7.

122 Tibetan, Chinese 2 and Tattvaloka omit: “Pledge”.

123. atha bhagavdm punar apt sarvatathdgatadharmasamayajnana samayas ambhavddhisthanan padman ndma samadhim samapadya: S. p. 356-2-3, T. p. 259-1-2—3, C2. p. 407-2-15-16.

124. S. p. 357-6, T. p. 259-1-6, C2. p. 407-3-2.

125. atharydvaloldtesvaro bodhisattvo mahasattva: S. p. 357-7, T. p. 259-1-6, C2. p. 407-3-3.

126. duhkhani veti: S. p. 359-18, T. p. 259-2-6, C2. p. 408-1-24.

127. tato ’sya jnanany utpddayet: S. p. 360-1, T. p. 259-2-6, C2. p. 408-2-21.

128. S. p. 363-9, T. p. 259-4-4, C2. p. 408-3-28.


(4) The final section starting with the words, “Then, one should teach the knowledge of the maha-mudrd of the Jnanamandala”129 and ending with the words, “One should make the karma-mudra into two”,130 succinctly describes the characteristics of the four mudras of the {Padmakula) Jnanamandala. In this section, the description showing the characteristic of the dharma-mudrds of this mandala is omitted because, according to Anandagarbha,131 the dharmamudrds of this mandala referring to the individual syllables are the same as those of the Sakalajagadvinaya Mahamandala and the basic method of perfecting these dharma-mudrds has already been explained in the Vajradhdtu Mahamandala.132


2. Structure o f the (Padmalada) Jnanamandala As has already been mentioned, the {Padmakula) Jnanamandala is the dharmamandala like the Vajrajndna Dharmamandala (ch. 3), and each of the deities drawn in this mandala holds his/her own attribute and sits cross-legged on the fivepronged vajra symbolising knowledge. The STTS provides only the following brief information because the bodily images and symbols of the deities drawn in this mandala are described in the previous two mandalas, i.e. the Sakalajagadvinaya Mahamandala and the Padmaguhya Mudrdmandala:-

“The supreme Jnanamandala133 (of the Lotus-family) has the basic design of the Vajradhdtu {Mahamandala) and is called ‘jDharmajndnanA {Dharma-knowledge)’. The whole mandala should be designed in conformity with the {Sakalajagadvinaya) Mahamandala. In the centre, one should draw the Tathagata Jnanavajra.135 On all sides of it, in conformity with the rite, one should draw the Mahasattvas, i.e. Visvesvara (referring to Jagadvinaya placed in the centre of the eastern quarter) and the others, who are abiding in samadhi.”

The centre of this mandala is occupied by the Tathagata Jnanavajra in the middle of the eight-petalled lotus. This Tathagata Jnanavajra refers to the image of the Tathagata Vairocana positioned in the centre of the five-pronged vajra drawn in the lunar disc on the lion and lotus-seat signified by the lotus.137 Except the four symbols representing the four Paramitas surrounding the Tathagata Jnanavajra, all 129. tato jnanamandalamahamudrajhanam silcsayet:

S. p. 363-10, T. p. 259-4-4~5, C2. p. 409-1- 1.

130. karmamudrd dvidhikrta iti: S. p. 363-14~15, T. p. 259-4-6, C2, p. 409-1-5. Chinese 2 reads: “One should perform the karma (-madra) in conformity with the rite.”

13 k Tattvaloka, TTP. Vol. 72, No. 3333, p. 37-1-3-4.

132. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 141-5-4-142-1-7.

133. Chinese 2 reads: “Dharmajndnamandala”.

134. Chinese 2 adds: “mandala”.

135. Chinese 2 reads: “the image of the Tathagata Mahajnanavajra in conformity with the rite”.

136. S. p. 357-9-14, T. p. 259-1-6-8, C2. p. 407-3-5-10.

137 Tattvaloka, TTP. Vol. 72, No. 3333, p. 35-2-8-3-2; Kosalalamkdra, TTP. Vol. 71, No.

3326, p. 30-2-4-5.


the other deities, i.e. the thirty-two main deities and the Bhadrakcilpa Mahabodhisattvas, hold their own attributes at their hearts and assume the meditation postures on the five-pronged vajras placed on the lotus and lunar discseats.


3. Attainment-Knowledge


According to the STTS,m the attainment-knowledge of the {Padmakula) Jnanamandala consists of the four sets of samadhi-ntcs as the methods of attaining the four lands of supernatural powers.

“By means of the samdpatti of Lokesvara, one should meditate on a lotus over one's heart. As soon as one attains the lotus -samadhi, one flies rapidly.

By means of the samdpatti of Lokesvara, one should meditate on the lotus on one's forehead. If one performs this practice steadfastly, one flies in space.

By means of the samadhi of Lokesvara, one should meditate on the lotus on one's tongue. As soon as one is successful, one moves through the air.

By means of the samadhi of Lokesvara, one should meditate on the lotus on the crown of one's head. As soon as one is successful, one rises upwards rapidly.”

The phrase “the samdpatti of Lokesvara” in this quotation is interpreted by Sakyamitra as generating the image of Lokesvara through deity-yog^.139 Thus, this rite explains the methods of flying in which the sddhaka generates the image of Lokesvara through his deity -yoga and meditates on the image of the lotus in the four places of his body. Anandagarbha interprets this rite slightly differently in that while performing his deity -yoga according to the instruction of the Sakalajagadvinaya Mahamandala, if the sddhaka binds his deity's mahd-mudra described in the (.Padmakula) Jnanamandala, and meditates upon the vq/ra-lotus on the lunar disc in the four places of his body together with reciting the appropriate hr day as, he gains attainments.

“One should meditate on a lotus-image in space or elsewhere. As soon as one is successful in this rite, one becomes invisible. One should meditate on the lotus-image in space or elsewhere. Then if one visualises oneself as riding it,141 one can become invisible.


138. S. pp. 360-363-9, T. p. 259-2-6-4-4, C2. p. 408-1-25-3-28.

As Yamada Isslii has pointed out, the corresponding part of Chinese 2 is wrongly edited, i.e.

S. pp. 360-361-8 corresponding to C2. p. 408-2-21-3-18; S. pp. 361-9-362-10

corresponding to C2. p. 408-1-25-2-17; S. pp. 362-11-363-9 corresponding to C2. p. 408-

2-18-20 & p. 408-3-19-28.

139. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 30-3-5.

140 Tattvaloka, TTP. Vol. 72, No. 3333, pp. 35-5-2-36-1-1.

141. Chinese 2 reads: “that lotus”.


One should meditate on the lotus-image in space or elsewhere. If one sees and clasps it,142 one becomes invisible rapidly. One should meditate on the lotus-image in space or elsewhere. As soon as one sees and eats that lotus, one becomes invisible.”

This rite refers to the sddhaka becoming invisible by means of generating the image of the lotus in space and identifying himself with space. Anandagarbha interprets the second segment of this quotation that while performing his deity-yoga, if the sddhaka generates the lotus in space or elsewhere, and then sits himself on the lotus and meditates on the image of Lokesvara, he gains the attainment.143 "If one clasps with the hand the lotus-image adorned with a variety of colours and forms, and binds the maha-mudrd (referring to meditating on the bodily image of Lokesvara), one can assume all forms.

If one draws the lotus-image adorned with a variety of colours and forms, and mediates on its essence, one can assume various forms. If one meditates on the lotus-image adorned with a variety of colours and forms in space or elsewhere, one will assume any form as one's speech.

If one makes the lotus-image adorned with a variety of colours and forms, and flies in space by riding it, one can surely assume any form at will.”

This rite refers to assuming all forms by means of performing the yoga of LokeSvara and using the four forms of the lotus-image. Concerning the phrase "a variety of colours and forms”, Anandagarbha explains that a variety of colours and forms refer to the colours such as blue and the forms such as round. He adds that the first lotus-image described in the above quotation is constructed by a cast, in sculpture, or in clay; the second lotus-image is drawn by the skilled artists on cloth, wall, or board; the third lotus-image is visualised in space or elsewhere by the sddhaka; and the fourth lotus-image is made (with a piece of wood) by skilled artists.

“One should duly bind the maha-mudrd of (one's chosen deity) once with a concentrated mind.146 Then, if one clasps the lotus, and presents it (to one's deity), one can surely gain control over others.


142. Chinese 2 reads: “that lotus”.

143. Ibid., pp. 36-1-3—5.

144. Chinese 2 reads: “at will”.

145. Tattvaloka, TTP. Vol. 72, No. 3333, p. 36-2-1-3-3.

146. Chinese 2 reads: “One should bind the samadhi-mahd-mudrd of whosoever being chosen once in conformity with the rite.”


One should duly bind the mudra of (one's chosen deity) once, which is known as the samaya.l47 Then, if one clasps the lotus with that (mudra), and presents it (to one's deity), one can gain control over others. One should bind the virtuous (dharma-) mudra of (one's chosen deity) once, which arises out of samadhi. Then, if one presents the knowledge-lotus (to one's deity), one can gain control over others rapidly.

One should bind the mudra of (one's chosen deity) once, which is named as the karma possessing the samaya. As soon as one presents the lotus (to one's deity), one can gain control over others.”

This rite refers to gaining control over others. The four segments of the above quotation respectively correspond to practising the deity -yogas of Jnanavisvesvara and his four Mahasattvas (in the eastern quarter of this mandala), the deity -yogas of Jnanabuddhamulcuta and his four Mahasattvas (in the southern quarter), the deity-yogns of Jnanadharmesvara and his four Mahasattvas (in the western quarter) and the deity -yogas of Jnanamogesvara and his four Mahasattvas (in the northern quarter), which represent the four families and the four mudras in the (Padmakula) Jnanamandala.


4. Conclusion


The (Padmahda) Jnanamandala representing the Compassionate Speech of Avalokitesvara and symbolising the knowledge in which all the deities abide in meditation on the five-pronged vajras describes the means of meditation and guides the sddhaka to attain the four kinds of supernatural powers, i.e. flying, becoming invisible, assuming all forms and gaining control over others, by means of practising deity-yoga and using the image of the lotus.

147. Tibetan reads: “One should bind (the mudra) known as the samaya-mudra of whosoever is being chosen.” Chinese 2 reads: “One should bind the mahdjndna-samaya-mudrd of whosoever is being chosen once in conformity with the rite.”



Chapter 18-a. (Padmakula) Karmamandala


Chapter 18-a of the STTSm provides an exposition of the {Padmakula)

Karmamandala, which is classified as the karma-mandala and constitutes the supreme karma-mudra of the Lotus-family. This mandala focuses on the Compassionate Action of Avalokitesvara abiding in the heart of Vairocana, and also the main thirty-seven deities. Amoghavajra provides a brief outline for this chapter:- “The fourth mandala (of the Sakalajagadvinaya) is called the karma-mandala. It contains (the main) thirty-seven deities. All of them are the transformations of Avalokitesvara. (This section of the tantra) explains the rite of guiding the pupil to enter (the mandala), and also explains the rite of worshipping the Lotusfamily, the methods of averting sin, protecting retribution, and preventing the karmic hindrance of affliction {paryavasthdnakarma- dvarana) .”


1. Structural Analysis o f Chapter 18-a


(1) The first section of chapter 18-a of the STTS starting with the words, “Then the Lord once again”150 and ending with the words, “OM VI&VA KARMT51 HUM”,152 provides an exposition of the second samadhi called the supreme mandala-king of the (Padmakula) Karmamandala.

(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva153 Avalokitesvara”154 and ending with the words, “Otherwise you will fall into hell”,155 briefly explains the mandala-rites of the {Padmakula) Karmamandala.


(3) The next section starting with the words, “Then, one should generate the knowledge”156 and ending with the words, OM MAHA-SUKHA PADMA DRDHA HAN]5T\ m explains the attainment-knowledge of the {Padmakida) Karmamandala consisting of sixteen samadhis. This section also explains a secret rite consisting of four secret samadhis.


(4) The final section starting with the words, “Then, one should teach the mahdmudras of the Karma {-mandala) accordingly”159 and ending with the words,


14®. S. chapter 18-a, pp. 365-374, T. pp. 259-4-7-260-3-8, C2. pp. 409-1-8-410-3-28.

149. OEAVS, TSD. Vol. 18, No. 869, p. 285-3-18-20.

15°. atha bhagavdm punar api\ S. p. 365-2, T. p. 259-4-7, C2. p. 409-1-14.

151. Tibetan and Tattvaloka both read: “KARMA”. Chinese 2 reads: “KARMI ”.

152. S. p. 366-4, T. p. 259-5-2, C2. p. 409-2-4.

153. Tibetan and Tattvaloka both omit: “Mahasattva”.

154. atharyavalokitesvaro bodhisattvo mahasattva'. S. p. 366-5, T. p. 259-5-2—3, C2. p. 409-2-5.

155. ma te narakapatanam bhaved iti: S. p. 368-15, T. p. 260-1-2, C2. p. 410-1-4.

156. tato jndnany utpadayed iti: S. p. 368-16, T. p. 260-1-2—3, C2. p. 410-1-5.

157. Tibetan reads: “H U M ’.

15S. S. p. 373-7, T. p. 260-3-6, C2. p. 410-3-23.

159, tatah karmamahamudram yathdvac chiksayet. S. p. 373-8, T. p. 260-3-6, C2. p. 410-3-24.


“One should accomplish the karma-mudrds” , m briefly describes the four mudras of the (.Padmakida) Karmamandala,161


2. Structure o f the (Padmahda) Karmamandala


Concerning the method of constructing the {Padmakula) Karmamandala, the STTS162 provides only the following brief description, and enumerates the hr day as referring to the main deities' names of this mandala'- “The supreme Karmamandala (of the Lotus-family) has the basic design of the Vajradhdtu {Mahamandala) and is called ‘Padmakarma (Lotus-action)’. The whole mandala should be designed in conformity with the {Sakalajagadvinaya) Mahamandala. On all sides of the Buddha, one should draw all the Padmacihnadharas.”


According to Sakyamitra, since this is the karma-mandala which consists of the offering-goddesses, the deities in this mandala assume the female forms and hold their own attributes with both hands. In addition, since this mandala belongs to the Lotus-family, all the attributes are signified by the wreath of the lotus.164 However, like the Vajrakdrya Karmamandala (ch. 4), the five Buddhas in this mandala, i.e. Vairocana, Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara have not female, but male appearances. Their images are the same as those of the Sakalajagadvinaya Mahamandala. Thus, except these five deities, the other main thirty-two deities and the Bhadrakalpa Mahabodhisattvas have female appearances and make the gesture of offering.


3. Attainment-Knowledge


The attainment-knowledge of the {Padmakula) Karmamandala consists of the four kinds of knowledge, i.e. knowledge of confessing sins (papa-desana-jhana), knowledge of destroying all hindrances {sarvdvarana-pariksaya-jhdna), knowledge of worshipping all the Tathagatas {sarvatathdgata-pujd-jhdna) and knowledge of attainments {siddhi-jnana).

This section also includes a secret rite of practising sexual yoga, entitled ‘Karmarahasya- mudra-jhdna\ which means the knowledge of die secret mudra of the {Padmakula) Karmamandala.

a. Pdpadesandjhdna

“If one meditates on die mahd-mudra of Lokesvara (referring to Jagadvinaya) with a well-concentrated mind, and confesses all sins, one can remove all sins quickly.


160. karmamudrah sa sddhayed iti: S. p. 373-12, T. p. 260-3-8, C2. p. 410-3-28.

Tattvaloka reads: “One should correctly fasten the karma-mudra.”

161. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 142-1-7-3-2.

162. S. pp. 366-7-368-12, T. pp. 259-5-3-260-1-1, C2. p. 409-2-7-3-26.

163. S. p. 366-7-10, T. p. 259-5-3-4, C2. p. 409-2-7-10.

164. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 31-3-6-7.


If one binds the supreme samaya {-mudra) (of Jatabuddha) with the samadhi of Lokesvara, and confesses all sins, one can purify the inexpiable sins (dnantarya).

If one meditates on the samadhi of Lokesvara (referring to Padmasamadhi) with a well-concentrated mind, and confesses all sins, one can destroy all sins. If one duly binds the succinct karma-mudra (of Padmamoghesvara) once, and confesses all sins, one can completely purify all actions.”


b, SarvavaranapariJcsayajhdna


“If one meditates on the mahd-mudra of Lokesvara (referring to Jagadvinaya) with a well-concentrated mind while reciting: ‘&UDHYA, &UDHYA’, one can purify all actions. If one binds the karma-samaya {-mudra) (of Jatabuddha) with the samadhi of Lokesvara while reciting: ‘BUDHYA, BUDHYA\ one can purify all actions.

If one meditates on the dharma-mudrd (of Padmasamadhi) with the samdpatti of Lokesvara while reciting: 'DHl, DHl, DHl, DHP, one can purify all actions.

If one binds the karma-mudra (of Padmamoghesvara) with the samadhi of Lokesvara while reciting: 'HI, Hi, Hi, H i one can purify all actions.”167


c, Sarvatathagatapujajndna


“If one binds the maha-mudra of Lokesvara (referring to Jagadvinaya) with a well-concentrated mind while reciting: 'OM, OM, OM, OM\ one can set all offerings in motion.

If one binds the supreme samaya {-mudra) (of Jatabuddha) with the samadhi of Lokesvara while reciting: ‘BHUR, BHUR, BHUR, BHUR’, one can worship all the Buddhas.

If one meditates on the m dharma-lotus (of Padmasamadhi) with the samdpatti of Lokesvara while reciting: 'HE, HE, HE, HE’, one can worship all the Buddhas,

If one firmly binds the karma-mudra (of Padmamoghesvara) consisting of the lotus with a concentrated mind while reciting: 'DHE, DHE, DHE, DHE’, one can worship all the Buddhas.”169 d, Siddhijndna

165. According to the BITS (pp. 95-96), there are five inexpiable sins, i.e. killing of a mother, father, or an arhat, causing dissension in the order of monks, and deliberately causing a Tathagata's blood to flow.

166. S. p. 369-1-8, T. p. 260-1-3-6, C2. p. 410-1-6-13.

167. S. pp. 369-15-370-6, T. p. 260-1-7-2-2, C2. p. 410-1-24-2-3.

168. Chinese 2 inserts: “pure”.

169 S. pp. 370-13-371-4, T. p. 260-2-3-6, C2. p. 410-2-10-17.


“If one binds the maha-mudrd of Lokesvara (referring to Jagadvinaya) with a well-concentrated mind while reciting: ‘HRI, HRl, HRl, HRT, one can attain Lokesvara.

If one binds the supreme samaya {-mudra) (of Jatabuddha) with the samadhi of Lokesvara while reciting: '$Rl, SRI, §Rl, $Rl’, one can obtain the supreme attainment.

If one meditates on the sam dpatti of Lokesvara (referring to Padmasamadhi) with a well-concentrated mind while reciting: ‘DHIK, DHIK, DHIK, DHIK\ one attains the lotus-wrath. If one binds the karma-mudra (of Padmamoghesvara) consisting of the virtuous great lotus while reciting: 'SIH, SIH, SIH, SIH , one gains the lotus 170-attainment.”


A common feature of the rites described in (a), (b), (c) and (d), is that each rite consists of four samadhis corresponding to the four mudras and the four deityyogas (i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara). Thus, in each rite, the sadhaka practises the yoga of his deity while performing the mahdmudra of Jagadvinaya, the samaya-mudrd of Jatabuddha, the dharma-mudra of Padmasamadhi and the karma-mudra of Padmamoghesvara. As a result of the four kinds of samadhi-htes described in the above quotation, the sadhaka attains four goals, i.e. (a) destroying all sins, (b) removing all defilements and purifying all actions, (c) gathering all merits, and (d) gaining the powers of deities.


e. Secret Rite


“If one amuses all female (deities) in union with Lokesvara (Lo\<LQSV3xz.-samdpatti) while uttering: 'AHO, SUKHA\ one can worship all the Buddhas. If one amuses all female (deities) in union with Lokesvara while uttering: ‘PRIYA, PRIYA*, one attains the delight of the Buddhas.172


If one amuses all female (deities) in union with Lokesvara while uttering: 'AHO, RATI, one obtains joy always. If one amuses all female (deities) in union with Lokesvara while uttering: *SUKHA, SUKHA\ one will not lose one's bliss.”173 The basic point of this rite is that the sddhaka becomes identical to Lokesvara through the sexual yoga, i.e. the perfect union between his visualised image as Lokesvara and his chosen female deity's image.


4. Conclusion


The previous three karma-mandalas, i.e. the Vajrakdrya Karmamandala (ch. 4), the Vajralaila Karmamandala (ch. 9), and the Sarvavajrakula Karma-mandala


170. Tibetan and Chinese 2 both read: “universal”.

171. S. pp. 371-11-372-2, T. p. 260-2-7-3-2, C2. p. 410-2-24-3-3.

172. Tibetan reads: “one rejoices the Lord Buddha”.

173. S. pp. 372-9-373-2, T. p. 260-3-3-5, C2. p. 410-3-10-17.


(ch. 14-a), focus on actions of deities, and suggest the means of worship or offering in order to gain the attainments. However, the {Padmakula) Karmamandala representing the Compassionate Action of Avalokitesvara focuses on defiled actions of all sentient beings, and describes the means of purifying all defiled actions in union with Lokesvara.


Chapter 18-b. Epilogue of Part Three

Chapter 18-b of the Sanskrit STTS serves as an epilogue of part three, and explains two mandalas and related rites, i.e. Padmakula Caturmudramandala classified as the catur-mudrd-mandala and Sarvajagadvinaya Mandala classified as the eka-mudrd-mandala.


A. Padmakula Caturmudramandala


The Padmalmla Caturmudramandala174 is the mandala of collecting the essential factors of the previous four mandalas of the Lotus-family. This mandala consists of Vairocana and four symbols, which represent the previous four mandalas. Thus, the sddhaka gains the attainments described in the previous four mandalas through this mandala.


A-l. Structural Analysis o f the First Part o f Chapter 18-b


(1) The first section of the first part of chapter 18-b of the STTS starting with the words, “Then the Lord once again entered the samadhi called the Empowerment of the Samaya-Mudrd of the Vajra-Dharma”vis and ending with the words, “OM SARVA MUKHT76 HUM”,111 provides an exposition of the fifth samadhi called the supreme mandala-king of the Padmakula Caturmudramandala.

(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva Avalokitesvara”178 and ending with the words, “You will die immediately due to the adverse action”,179 provides a concise description of the mandala-rites of the Padmakula Caturmudramandala.

(3) The next section starting with the words, “Then, one should generate the knowledge”180 and ending with the words, “OM SADHAYA PADMA RAGA SAMAYA A H ’,m explains the attainment-knowledge of the Padmakula Caturmudrdmandala. This section also explains the knowledge of the secret-mwc/rd.

(4) The final section, “Then, one should teach the binding182 of all the mudras183 such as the mahd-mudra and the rest.”,184 refers to the rite of binding the four mudras of the Padmakida Caturmudramandala485


174. S. pp. 375-378 of chapter 18-b, T. p. 260-4-l~5-6, C2. p. 411-1-1-2-19.

175. atha bhagavam punar api vajradharmasamayamudrd adhisthanan nama samddhim sam apadya: S, p. 375-4-5, T. p. 260-4-1, C2. p. 411-1-1.

176. Tibetan reads: “MUKHE

177. S. p. 376-4, T. p. 260-4-3, C2. p. 411-1-12.

  • 78. atharyavaloldtesvaro bodhisattvo mahasattva'. S. p. 376-5, T. p. 260-4-3—4, C2. p. 411-1-


179. alcala maranam visamalaiyayetv. S. p. 376-13, T. p. 260-4-7, C2. p. 411-1-22. Tibetan and Tattvaloka both read: “At the time of not avoiding the misfortune, you will fall into hell.”

180 tato jnandny utpadayet: S. p. 377-1, T. p. 260-4-7, C2. 411-1-23.

181. S. p. 378-9, T. p. 260-5-5, C2. p. 411-2-18.

182. Tibetan omits: “binding”.


A-2. Structure o f the Padmakula Caturmudramandala


“The supreme Caturmudramandala (of the Lotus-family) has the basic design of the Vajradhdtu (Mahamandala) and is equal to the {Sakalajagad-vinaya) Mahamandala. In the centre of the (Catur-) mudra-mandala one should place the image of the Buddha (Vairocana). On all sides of him, one should draw the vq/'ra-lotus and the others.”

The external shape of the Padmakula Caturmudramandala is designed in conformity with die Vajradhdtu Mahamandala, but its centre circle has the eightpetalled lotus like the Sakalajagadvinaya Mahamandala. This mandala consists of the image of Vairocana and the four symbols of four deities, i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara. The image of Vairocana is made, cast, or drawn in the centre of the lotus.187 Opinions differ between the two commentators concerning the four symbols and their positions. Anandagarbha


explains that the four symbols are drawn in the positions of the four deities, i.e. a five-pronged vajra signified by the lotus for Jagadvinaya in the centre of the eastern quarter; a wish-granting-gem signified by the lotus for Jatabuddha in the centre of the southern quarter; a sixteen-petalled vq/ra-lotus for Padmasamadhi in the centre of the western quarter; and a four-petalled lotus, whose centre is white and has four coloured petals, i.e. blue, yellow, red and green, for Padmamoghesvara in the centre of the northern quarter.188 However, according to Sakyamitra, the four symbols indicate a vajra-Xotas referring to a lotus signified by the vajra, a gem-lotus, a lotus, and a lotus signified by the karma-vajra (crossed vajra), and these four symbols are drawn in the positions of four Paramitas around Vairocana.189 Concerning the positions of these four symbols, it is evident that Anandagarbha's opinion is more appropriate than Sakyamitra. Amoghavajra argues that this mandala contains twenty-one deities190 excluding the sixteen Mahasattva Padmacihnadharas out of the main thirty-seven deities.


A-3. Attainment-Knowledge


The attainment-knowledge of the Padmahda Caturmudramandala consists of the following four samadhis for attaining the four deities of this mandala.


183. Tibetan reads: “all the mahd-mudrasn.

184. tato mahamudradisai'vamudrdbandham silcsayet: S. p. 378-10, T. p. 260-5-5, C2. p. 411-2-


185. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 142-3-2-4-5.

186 S. p. 376-7-10, T. p. 260-4-4-6, C2. p. 411-1-15-18.

187. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 32-4-6-8.

188. Tattvaloka, TTP. Vol. 72, No. 3333, p. 40-4-3-8.

189. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 32-5-1-2.

190 OEAVS, TSD. Vol. 18, No. 869, p. 285-3-21.


“If one clasps the lotus191 with the hand,192 and smells193 it carefully, and then worships the Buddhas with its scent, one gains the attainment (of Lokesvara).

If one places the image of the Buddha (Amitabha) in the centre of the twisted hair (of Lokesvara) with a concentrated mind, and walks around showing pride,195 one can subjugate the whole world.

If one visualises the great image of the lotus on the lotus (referring to the lotus of Padmasamadhi) in samadhi, and abides (in deityyoga, i.e. visualising oneself as wrathful Padmasamadhi)

according to the rite, one can kill all evil beings196 with the mind (by means of the visualised lotus).

If one makes the four-faced lotus,197 and clasps and revolves it with the hand, one achieves (all the actions) such as taking possession of (divine knowledge)”

This rite refers to practising the yoga of the four deities, i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara, by means of performing their four mudras and meditating on their four symbols, which represent and symbolise the four previous mandalas of the Lotus-family. As results of this rite, the sddhaka gains all the attainments of the four deities.


A-4. Conclusion


The Padmakula Caturmudramandala which has the function of assembling the essential principles of the previous four mandalas of the Lotus-family, i.e. die Body, Mind, Speech and Action of the Compassionate Avalokitesvara, consists of the image of Vairocana and the four symbols of the four deities (i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara). In this mandala, these four deities' symbols refer to the four Paramitas of the Lotus-family which help the sddhaka to generate the four deities in his mind. Thus, this mandala describes the simplest way of attaining the four deities simultaneously, i.e. meditation on the four symbols of the four deities drawn in this mandala. The sddhaka!s attainment of the four deities through this mandala means the attainment of the Body, Mind, Speech and Action of Avalokitesvara.


B. Sarvajagadvinaya Mandala


191. Anandagarbha interprets the lotus as referring to a sixteen-petalled lotus made of wood.


(:Tattvaloka, TTP. Vol. 72, No. 3333, p. 40-5-7-8).

192. Chinese 2 reads: “both hands”.

193. Tibetan and Kosalalamkdra both read: “obscures and smells”. Tattvaloka reads: “meditates”.

194. Tibetan and Chinese 2 both add: “rapidly”.

195. Tibetan reads: “vq/ra-pride”.

196. Sanskrit and Tibetan omit: “all evil beings”.

197. Tibetan reads: “crossed lotus”.

198. S. p. 377-2-9, T. p. 260-4-7-5-2, C2. p. 411-1-24-2-2.


Like the two previous eka-mudra-mandalas containing only a dominant single deity, i.e. the Mahay anabhisamayamandala (ch. 5-B) and the Vajrahumkara Mandala (ch. 10-B), the Sarvajagadvinaya Mandala199 also focuses on only a single deity, i.e. Jagadvinaya or Lokesvara emitting all forms. Thus, Lokesvara or Avalokitesvara, who predominates over the previous five mandalas of the Lotusfamily, occupies the centre of this mandala. According to Amoghavajra, the sixth mandala is called the eka-mudrd-mandala of the Lotus-family and contains thirteen deities, all of which are the transformations of Avalokitesvara. (This section of the tantra) explains the rite of guiding the pupil to enter (the mandala), and also the method of practising (the samadhi of summoning) one's chosen deity (sva-deva), and the method of practising the perception of both the mundane world (loka) and the spiritual world (aloka).200


B-l. Structural Analysis o f the Second Part o f Chapter 18-b


(1) The first section of the second part of chapter 18-b of the STTS starting with the words, “Then the Mahabodhisattva201 Avalokitesvara”202 and ending with the words, “HRIH”,203 provides an exposition of the second samadhi called the supreme mandala-king of the Sarvajagadvinaya Mandala. This section shows only the samadhi of Avalokitesvara, because only a single deity constitutes this mandala.

(2) The next section starting with the words, “Then, the Mahabodhisattva204 Avalokitesvara”205 and ending with the words, “One should be instructed accordingly”,206 briefly explains the mandala-rites of the Sarvajagadvinaya Mandala.

(3) The next section starting with the words, “One should teach the knowledge of the Sakalajagadvinaya”207 and ending with the words, “One is accomplished on the mandala”,208 explains the attainment-knowledge of the Sarvajagadvinaya Mandala.


(4) The next section starting with the words, “Then, one should teach the binding of the mudras such as the maha-mudra and the rest”209 and ending with the words,

199. S. pp. 379-380-7 of chapter 18-b, T. pp. 260-5-6-261-1-5, C2. p. 411-2-20-3-15.

200 OEAVS, TSD. Vol. 18, No. 869, pp. 285-3-24-286-1-2.

201. Tibetan, Chinese 2 and Tattvaloka read: “Bodhisattva Mahasattva”.

202. athdtyavaloldtesvaro mahabodhisattva'. S. p. 379-1, T. p. 260-5-6, C2. p. 411-2-20.

203. S. p. 379-5, T. p. 260-5-7, C2. p. 411-2-25.

204. Tibetan and Tattvaloka both read: “Bodhisattva”.

205. atharydvaloldtesvaro mahabodhisattva: S. 379-6 T. 260-5-7, C2. p. 411-2-26. Chinese 2 omits.

206. tathaivoldva: S. p. 379-13, T. p. 261-1-1-2, 411-3-5-6.

207. sarvajagadvinayajhanatn silcsayet: S. p. 379-13, T. p. 261-1-2, C2. p. 411-3-7.

208. mandale tu sa sidhyati: S. p. 380-3, T. p. 261-1-3, C2. p. 411-3-12.

209. tato mahdmudradimudrdbandham silcsayet'. S. p. 380-4, T. p. 261-1-4, C2. p. 411-3-13.


“The attainments are achieved accordingly”,210 refers to the rite of binding the four mudras of the Sarvajagadvinaya Mandala.

(5) The final section starting with the words, “Then, all the Tathagatas gathered together in a conclave”211 and ending with the words, “the compendium of the Mahayana”212 constitutes the closing section of the part three, which includes a verse praising Avalokitesvara by all the Tathagatas.


B-2. Structure o f the Sarvajagadvinaya Mandala


The Sarvajagadvinaya Mandala borrows its title from the mandala positioned in the eastern quarter of the Sakalajagadvinaya Mahamandala (ch. 15), i.e. tire mandala of Jagadvinaya. Thus, ViSvarupa described in the following quotation indicates Lokesvara emitting all forms, who is named as Jagadvinaya. “As for the Jagadvinayamandala (of the Lotus-family), one should draw its external mandala in conformity with the (Sakalajagadvinaya) Mahamandala, and draw accordingly a lotus in its interior. In its (centre) one should draw ViSvaiiipa (Universal Form) embracing all the lotus-petals.”


According to Sakyamitra,215 since this mandala is revealed for attaining the mahamudrd of Lokesvara, the image of Lokesvara is drawn in the lotus-centre positioned in the middle of tire whole mandala, and in eveiy lotus-petal surrounding him appear all forms of embracing both the mundane world and the spiritual world, which emerge by means of rays from the body of Lokesvara. However, as already mentioned, Amoghavajra argues that this mandala contains the thirteen deities, which refer to Lokesvara, eight Offerings and four Door-guardians.


B-3. Attainment-Knowledge


The attainment-knowledge of the Sarvajagadvinaya Mandala is entitled Sarvajagadvinayajhdna (the knowledge of attaining Sarvajagadvinaya), which refers to realising fully the maha-mudrd of Lokesvara. This section also explains a secret rite, entitled Jagadvinayarahasyamudrajhdna (the knowledge of the secret mudra of Jagadvinaya).


a. Sarvajagadvinayajhdna

“If one draws the mandala known as Jagadvinaya, and meditates on the maha-mudrd (of Jagadvinaya), one can become equal to ViSvadhara.”


210. tathaiva siddhaya iti: S. p. 380-6-7, T. p. 261-1-5, C2. p. 411-3-15.

21 f atha sarvatathdgatah punah samajam agamya: S. p. 380-8, T. p. 261-1-5, C2. p. 411-3-16.

212. mahdydnabhisamgraham iti: S. p. 380-13~14, T. p. 261-1-6, C2. p. 411-3-21.

213. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 142-4-5-143-1-1.

214 S. p. 379-8-11, T. pp. 260-5-8-261-1-1, C2. p. 411-3-1-4.

215. Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 33-2-1-8.

216. S. p. 379-14-15, T. p. 261-1-2, C2. p. 411-3-8-9.


This rite refers to attaining Jagadvinaya by means of performing the yoga of Jagadvinaya. According to Sakyamitra,217 the sddhaka draws and enters the Sarvajagadvinaya Mandala, and then while abiding in it, if he executes the activities such as confessing sins, and meditates on the maha-mudrd of the Lord Visvarupa, i.e. die bodily image of Jagadvinaya, he can become identical to Visvadhara or Jagadvinaya.


b. Secret Rite


Meditating on the samadhi of Visvarupa with a well-concentrated mind, one is successful in the mandala through the union of the two organs.”

This rite refers to attaining Jagadvinaya by means of the perfect union between the sadhaka's mentally projected body and the visualised Jagadvinaya's body, i.e. by means of the sddhaka visualising himself as Jagadvinaya abiding in the mandala.


B-4. Conclusion


In order to generate and to realise Avalokitesvara, while die previous Padmakula Caturmudramandala suggests the means of attaining the four deities (i.e. Jagadvinaya, Jatabuddha, Padmasamadhi and Padmamoghesvara), the Sarvajagadvinaya Mandala which is the eka-mudrd-mandala of the Lotus-family focuses on only Jagadvinaya because the four deities are the four different images of Avalokitesvara or Lokesvara. Thus, the yoga of Jagadvinaya described in this mandala guarantees all the attainments such as the supernatural powers explained in the previous five mandalas of the Lotus-family. In addition, by means of the power of the compassionate Avalokitesvara the sddhaka converts all sentient beings.

217 Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 33-3-3-5.

218. Chinese 2 reads: “the union of vajra and lotus”.

S. p. 380-2-3, T. p. 261-1-3-4, C2. p. 411-3-11-12.


Karma-Pledge of All the Tathagatas


Part four of the Sanskrit STTS1 is divided into four chapters, entitled Sarvarthasiddhi Mahamandala (ch. 19), Ratnaguhya Mudramandala (ch. 20), (Manihda) Jnanamandala (ch. 21), and {Manikula) Karmamandala (ch. 22-a). The last chapter also includes a section which forms an epilogue to part four (ch. 22-b) and contains the rites of two mandalas, i.e. Manikula Caturmudramandala and Sarvarthasiddhi Mandala (or Manikula Ekamudrdmandala). These six mandalas of part four belong to the Karma-family or Gem-family. Concerning the relationship between the Gem-family and the Karma-family, Anandagarbha comments that since all the words of the Gem-family are endowed with actions to complete all the thoughts of all living beings, they are known as the pledge of the Karma-family.2 He also explains the function of the Gem-family as generating the karma-mudra of completing all wishes of all living beings as a remedy for avarice.3 Thus, the Gem-family specialises in the gaining of wealth with special instructions for discovering hidden treasure.


This fourth part of the STTS is dominated by the Mahabodhisattva Akasagarbha and all six mandalas in this part are enunciated by him. The ultimate purpose of the Gem-family is to guide the sddhaka to generate the nature of Akasagarbha or Vajragarbha and to eliminate avarice with the help of Akasagarbha, the bestower of gems. David Snellgrove5 argues that the first four mandalas of part four have exactly the same principal thirty-seven divinities as in the Vajradhdtu Mandala and the only complications are caused by their variant names, which have been concocted mainly by replacing the first part of the name, Vajra-, by Mani- or Ratna- and in the case of the fourth (Manilatla) Karmamandala by a combination of Maniratna-. In addition, in the case of the third {Manikula) Jnanamandala, the distinctive part of the Bodhisattva's name is prefixed by Manijnana


h S. part four, pp. 382-434, T. pp. 261-l-7~266-3-3, C2. pp. 411-3-22—423-1-14.

2. Tattvaloka, TTP. Vol. 71, No. 3333, p. 144-3-2-3.

3. Ibid., p. 143-1-1-2.

4. David Snellgrove, Indo-Tibetan Buddhism, p. 237.

5. David Snellgrove, Sarva-Tathcigata-Tattva-Sahgraha, Introduction, p. 55.


Chapter 19. Sarvarthasiddhi Mahamandala


Chapter 19 of the STTS6 provides an exposition of the Sarvarthasiddhi Mahamandala which constitutes the supreme mahd-mudra of the Gem-family. Amoghavajra outlines this chapter as follows:-

“The fourth main part is called ‘Universal Success (,sarvarthasiddhi)\ It includes six mandalas. The first mandala (of the Sarvarthasiddhi) is called the mahd-mandala. It contains (the main) thirty-seven deities. (This section of die tantra) explains the rite of guiding die pupil to enter (the mandala). By means of entering this mandala, (the pupil) can eliminate the karmic effects of poverty. The text explains the ways of seeking abundant riches, and seeking both Buddha-Bodhisattva-hood and glory in this world.”


1. Structural Analysis o f Chapter 19


(1) The first section of chapter 19 of the STTS starting with the words, “Then all the Tathagatas once again”8 and ending with the words, “This is produced for the benefit of the world”,9 opens with a eulogy to Akasagarbha, who as the presiding Mahabodhisattva in part four of the STTS is praised with one hundred and eight names, just as Vajradhara (ch. 1), Vajrapani (ch. 6) and Avalokitesvara (ch. 15) were praised by all the Tathagatas. These one hundred and eight names begin with Akasagarbha and end with Vajragarbha.10 This section also provides an exposition of the second samadhi called the supreme mandala-king of the Sarvarthasiddhi Mahamandala.

(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva Akasagarbha”11 and ending with the words, “One should reveal the Mahamandala”,12 explains the detailed mandala-rites of the Sarvarthasiddhi Mahamandala.

(3) The next section starting with the words, “Then, one should perform the worship in one's power”13 and ending with the words, “OM SARVA-KARMA14 SPHOTA SAMYOGA”,15 explains the means of gaining hidden treasure as the


6. S. chapter 19, pp. 383-403, T. pp. 261-1-8-263-3-4, C2. pp. 411-3-22-416-1-21.

7. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-3-6. According to the Sanskrit STTS, the way of seeking both Buddha-Bodhisattva-hood and glory in this world is explained not in this chapter but in the next chapter (ch. 20, S. pp. 409-5—411,

T. pp. 263-5-6-264-2-4, C2. pp. 417-2-14-418-1-15).

8. atha khalu sarvatathagatdh punah: S. p. 383-2, T. p. 261-1-8, C2. p. 411-3-23.

9. idam sambhutam jagadarthata iti: S. p. 388-8-9, T. p. 261-4-7, C2. p. 412-3-7.

10. David Snellgrove, S arva-T ath dgata-T attva-S an grah a, Introduction, p. 54. 11. athakasagarbho bodhisattvo mahasattva: S. p. 388-10, T. p. 261-4-7—8, C2. p. 412-3-17.

12. mahamandalam darsayet. S. p. 394-11, T. p. 262-2-8, C2. p. 414-1-20-21.

13. tato yathdvibhavatah pujdn krtvd: S. p. 394-13, T. p. 262-2-8-3-1, C2. p. 414-1-22-23.

1 4 . Tattvaloka omits: “KARMA”.

15. S. p. 398-14, T. p. 262-5-2-3, C2. p. 415-1-14-15.


attainment-knowledge of the Sarvarthasiddhi Mahamandala. This section also includes a secret rite.

(4) The final section starting with the words, “Then, one should teach the knowledge of all the mudrds of the great Gem-family”16 and ending with the words, “Having made the gem-fist17 into two, one should accomplish the karmamudras”, 1* explains the rites of binding the four mudrds of the Sarvarthasiddhi Mahamandala.


2. Mandala Rites


a. Structure o f the Sarvarthasiddhi Mahamandala


The Sarvarthasiddhi Mahamandala enunciated by Akasagarbha has the same basic structure as that of the Vajradhatu Mahamandala and also contains the main thirtyseven deities at the same positions corresponding to those of the Vajradhatu Mahamandala,

“The supreme Mahamandala (of the Gem-family) has the basic design of the Vajradhatu (Mahamandala) and is called lSarvasiddhi (Universal Fulfilment)’.

(This mandala) has its four comers embellished with four gates and four arched doorways, joined together by four lines and adorned with silk pennants, wreaths and garlands. The external mandala should be drawn, inlaid with vajras and gems in every comer of the mandala20 and between the gates and doors. In the interior a castle, which is generated from the vajra-gem, is designed and constructed correctly in conformity with the supreme eight pillars. It is adorned with the five mandalas which radiate brightness of the various gems.

(In the centre of the whole mandala) one should place the Buddha (Vairocana), who is surrounded by the (four) SQ\f-mudrds (drawn in the positions of the four Paramitas, i.e. the vajra-gom referring to the symbol of Vajramani, the gem-garland referring to the symbol of Vajraratnankura, the gem in the lotus referring to the symbol of Vajraratnapadma and the gem encircled by minute gems refening to the symbol of Vajraratnavarsa).

Having approached the mandala of Sarvasasiddhi21 (located at the eastern quarter) with the vq/ra-impulse, one should place Vajragarbha and draw Ratnavaraprada there (in its centre).22 On


16. tato mahdmanilculasarvamudrdjndnam siksayet S. p. 398-15, T. p. 262-5-3, C2. p. 415-1-16.

17. Tibetan reads: “gem-mudra”.

18. ratnamastim dvidhilq'tya Icarmamudras tu sadhayed iti: S. p. 40 3-10~ ll, T. p. 263-3-3, C2. p. 416-1-19.

19. Cf. T a ttvd lo k a , TTP. Vol. 71, No. 3333, p. 143-1-1-2-4.

20. Tibetan reads: “maha-mandala”.

21. Chinese 2 adds: “positioned in the east”.

22. Chinese 2 reads: “One should draw Vajragarbha who assumes the image of Ratnavaraprada in accordance with the instruction.”


all sides of him, one should duly draw the (four) Mahasattvas endowed with the gem-symbols {ratna-mudra) in correct order, (i.e.

(1) Vajramanicihna or Manicihna,

(2) Ratnaiikusa or Ratnaraja,

(3) Maniraga, and

(4) Ratnatusti or Manisadhu).

Having approached the mandala of Ratnamala23 (located at the southern quarter) with the vq/ra-impulse, one should duly draw the supreme Ratnamaladhara there in its centre. On all sides of him, one should duly draw the (four) Mahasattvas holding the jewel-attributes (mani-cihna) in (their) hands in correct order, (i.e.


(5) Ratnamala or Sarvatathagatabhisekamala,

(6) Manisurya,

(7) Cintamanidhvaja or Manisri, and

(8) Ratnattahasa or Manihasa).

Having approached the mandala of Ratnapadma24 (located at the western quarter) with the vq/ra-impulse, one should place and draw the omnipresent Ratnapadmadhara there (in its centre). On all sides of him, one should duly draw the (four) Mahasattvas holding the jewel-attributes in correct order, (i.e. (9) Samadhijhanagarbha,

(10) Ratnakosa,

(11) Manicakra, and

(12) Ratnabhasa or Manibhasa).

Having approached the mandala of Ratnavrsti25 (located at the northern quarter) with the vq/m-impulse, one should draw the Mahasattva Ratnavrsti showering gems there (in its centre). On all sides of him, one should duly draw the (four) Mahasattvas forming the hand-gestures and possessing the gem attributes, (i.e. (13) Manipuja, (14) Manibandhakavaca or Manikavaca, (15) Manidamstra or Maniyaksa, and (16) Maniratna or Manimusti) in conformity with the rite.

Having approached with the vq/ra-impulse, in every part of the comer, one should duly draw Ratnalasya (or Ratnarati) and the others (i.e. Ratnamala, Ratnaglta or Manigita, and Ratnanrtya or Maninrtya) in correct order. Having approached the supreme external mandala with the vq/ra-impulse, one should draw Dhupapuja (Dhuparatna or Ratnadhupa) and the others (i.e. Puspamani or Ratnapuspa, Ratnaloka, and Manigandha or Ratnagandha) in the comers of the external mandala. The (four) Door-guardians (i.e. Sarvaratnakarsa or Ratnankusa, Ratnapasa, Manibandha or Ratnasphota, and Maniratnavesa or Ratnavesa) should be placed in the centre of the four gates.”

In this mandala, the names of the five deities occupying the positions of the five Tathagatas are Vairocana, Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti. 23. Chinese 2 adds: “positioned in the south”. Sakyamitra explains that the mandala of Ratnamala is the mandala of the gem-garland which is held in both hands by the Lord Vajraratna.

{Kosalalamkdra, TTP. Vol. 71, No. 3326, p. 36-3-4).

24. Chinese 2 adds: “positioned in the west”.

25. Chinese 2 adds: “positioned in the north”.

26 S. pp. 388-13-393-12, T. pp. 261-5-1-262-2-3, C2. pp. 412-3-20-414-1-5.


The image of Vairocana is the same as in the Vajradhatu Mahamandala, but the other four deities in common have the image of Vajragarbha or Akasagarbha. Thus, firstly, Sarvarthasiddhi (in the centre of the eastern quarter) has an image of Vajragarbha forming with his right hand ‘the gesture of bestowing gems’ which indicates the hand-gesture of placing on the knee with the palm of the right hand facing upwards.27 Secondly, Ratnadrsti (in the centre of the southern quarter) has an image of Vajragarbha holding the gem-garland in his hands. Thirdly, Ratnapadma (in the centre of the western quarter) has an image of Vajragarbha holding the gem-lotus in his hands and abiding in samddhi.2S Finally, Ratnavrsti (in the centre of the northern quarter) has an image of Vajragarbha pouring and casting the mould of all gems.

The sixteen Mahasattvas (marked as the indicated numbers), the four Internal Offerings, the four External Offerings and the four Door-guardians are endowed with the same characteristics as those of the Vajradhatu Mahamandala but they have the golden-coloured bodies adorned with various ornaments and hold their own attributes signified by the gem or jewel in their hands.30 Though there is no mention about the Bhadrakalpa Mahabodhisattvas in the above quotation, Anandagarbha argues that the Bhadrakalpa Mahabodhisattvas such as Maitreya, are drawn towards the four directions of the external mandala.


b. Entry into the Mandala


The master instructing the rites of the Gem-family is called the precious gem-master {maniratna-acarya) because he holds the precious gem in his hand while performing the rituals in the mandala. The entry rite into the Sarvarthasiddhi Mahamandala also begins with the master's activities. Since its basic foimat follows the ritual of the Vajradhatu Mahamandala, as can be seen in the following quotation, the STTS in this section emphasises the specific characteristics found only in the rite of the Sarvarthasiddhi Mahamandala.


(1) (Having drawn the Sarvarthasiddhi Mahamandala), the precious gem-master himself enters this Mahamandala in accordance with (the rite of the Vajradhatu Mahamandala) and performs the extensive rite by himself, Sakyamitra explains this master's activities “Having performed the four salutations, the master consecrates himself with the flask blessed by the vajra-gem, and forms the samaya-mudrd of Vajraratnankura over his heart. Then, having

27. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 36-2-7~3-2.

According to Anandagarbha, Sarvarthasiddhi holds a bell in a boastful manner with the gemfist (formed by the left hand) and forms the mudrd of supreme giving with the right hand possessing a vajra-gem.

(Tattvaloka, TTP. Vol. 72, No. 3333, p. 54-1-6-7).

28. Tattvaloka, TTP. Vol. 72, No. 3333, p. 48-2-2-3.

29. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 36-4-2-5.

30 Tattvaloka, TTP. Vol. 72, No. 3333, p. 54-1-2-4.

31. Ibid., p. 54-1-1; p. 54-4-7-8.


clasped a garland and recited the hrdaya of entering (the mandala), he enters. After this, he presents the garland to die Lord Vajragarbha who abides in place of Aksobhya, and receives it back again. Having bound it round his head, he wishes: ‘Now, all the master's actions are fully realised in myself.’ Then he empowers himself and receives the order.”

According to Anandagarbha, in this rite the master performs the yoga of Akasagarbha (or Vajragarbha) and transforms himself as Akasagarbha in samadhi.


(2) Then, he consecrates his jewel-pupil with ajar of water blessed by the gem, and induces (his pupil) to form the samaya-mudrd of Vajramani while reciting the hrdaya: ‘OM VAJRA-MANISAMAYA VAM .


(3) Next, (the pupil) wearing an upper garment34 made of the cloth obtained in accordance with the colour and covering his eyes with die same kind of (cloth), enters (the mandala) while reciting the hrdaya: ‘OM HUM MANI RAJA KULAM.


(4) When he enters (the mandala), (the master) utters: ‘You should not tell this35 to anyone, otherwise you will not escape from poverty and suffering during your whole life, and you will remain in hell for a long time.’ Having spoken thus, (the master) bursts open the samaya36 (-mudrd of Vajramani) and enunciates die Mahdydnabhisamaya (perfect comprehension of the Mahay ana).


(5) Then, (the master) asks (his pupil) with the vzz/ra-sound: ‘Where is the great treasure?5 and ‘How is it obtained?’. Then (the master) encourages the Lord Bodhisattva37 Akasagarbha to tell all. After (Akasagarbha) has spoken, (the master) removes (his pupil's) face-cover and reveals the Mahamandala.

(6) Next, he announces the consecration-pledge of all the Tathagatas until the Lord Tathagata approaches. Then, having performed the rite of worshipping within his power, (the pupil) accomplishes all actions.”


3. Attainment-Knowledge


3-1. Jhdinamudra


The attainment-knowledge39 of the Sarvarthasiddhi Mahamandala entitled ‘Jnanamudra (the knowledge-wwr/nz)’ consists of four sets of rites. The term Jhdnamudrd means the mudrd of the natural disposition upon which (the sddhaka)

32. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 36-5-1~3.

33. Tattvaloka, TTP. Vol. 72, No. 3333, p. 48-2-5-8.

34. Chinese 2 omits.

35. Chinese 2 reads: “this secret”.

36. Tibetan reads: “make the samaya into two”.


Anandagarbha interprets that ‘making the samaya into two’ means ‘breaking the samayamudrd of Vajramani formed by the right hand by means of the wrathful fist formed by the left


hand’. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 48-3-5-6).

37. Tibetan and Chinese 2 both add: “Mahasattva”.

38. S. pp. 393-13-394, T. p. 262-2-3-3-1, C2. p. 414-1-6-23.

39. S. pp. 395-397, T. p. 262-3-1-4-7, C2. p. 414-1-24-3-27.


meditates after having executed his own deity -yoga possessed of the four mudrds.40 The following four sets of meditation methods aim at finding and gaining hidden treasure “If one visualises (himself as) the bodily image (maha-mudra) of Vajragarbha (referring to Sarvarthasiddhi) with a wellconcentrated mind, wherever one digs for the treasure trove, there one sees the treasure trove.

If one forms the supreme samaya {-mudrd) (of Ratnadrsti) and presses the {samaya-) mudrd where the treasure trove is perceived, it appears itself at this time. If one joins in the samadhi of Vajragarbha (referring to Ratnapadma) with a well-concentrated mind, one knows in thought {manas) where the treasure trove is located. If one forms the karma-mudra in the samadhi of Vajragarbha (referring to Ratnavrsti), wherever one can take possession of that mudrd, there one can see the treasure trove.” “If one meditates on the maha-mudra (of Sarvarthasiddhi), wherever one's body is wrapped, there the gem-deposit is perceived through the nature of samaya.

If one forms the supreme samaya {-mudrd) (of Ratnadrsti), wherever one takes possession of it and breaks it open, there one can discern and obtain the treasure trove which is M l of great gems.

If one joins in the samadhi-mudrd (of Ratnapadma) and takes possession of it, one can know by oneself the whereabouts of the treasure trove which is M l of great gems.

If one forms the karma-mudra (of Ratnavrsti) and takes possession of it thoroughly, wherever one binds the samaya (- mudrd) with both hands, there one can point out the treasure.” “If one joins in the maha-mudra (of Sarvarthasiddhi) wherever some doubt is raised, there the treasure trove containing gems can be discerned through knowledge {jnana).

If one forms the supreme samaya {-mudrd) (of Ratnadrsti) where some doubt is raised, and releases it by oneself, there one can point out the treasure.

If one joins in the samddhi-mudra (of Ratnapadma) and generates the knowledge where some doubt is definitely raised, there the treasure is definitely discerned. If one forms the karma-mudra (of Ratnavrsti) where some doubt is raised and breaks it open in accordance with the rite, the treasure will be foimd there.”

40. Kosalalcunkara, TTP. Vol. 71, No. 3326, p. 37-3-1.


“If one joins in the maha-mudra (of Sarvarthasiddhi) and searches for the treasure troves, wherever one remains and takes possession of (the mudrd), there one can point out (the treasure). If one forms the supreme samaya {-mudrd) (of Ratnadrsti) and searches for the treasures, wherever one remains and makes (the mudra) steadfast, there one can point out the treasure. If one joins in the samddhi-mudra (of Ratnapadma) and searches for the treasure trove, wherever one remains and generates knowledge, there one can point out the treasure. If one forms the karma-mudra (of Ratnavrsti) and searches for the treasures, wherever one remains and revolves the karma-mudra, there one can point out (the treasure).”

These rites refer to the sadhaka performing deity-yoga together with the four mudrds of the deity in order to gain hidden treasure. The common feature of these rites is that each rite consists of the four verses or four segments corresponding to not only the four mudrds, but also the deity-yogas of the four deities and their families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family. Thus, in each rite the first segment describes the sadhaka performing the deity-yoga of Sarvarthasiddhi or one of his family members while visualising the bodily image {maha-mudra) of the deity and reciting the relevant hrdaya, and then the sadhaka visualises himself as the goldencoloured bodily image of Akasagarbha, and generates Vajraratna abiding in himself. Tire second segment describes the sadhaka performing the deity-yoga of Ratnadrsti or one of his family members while forming the hand gesture {samayamudra) of the deity with his hands and reciting the relevant hrdaya, and then the sadhaka visualises himself as Ratnadrsti or one of his family members. The third segment describes the sadhaka performing the deity -yoga of Ratnapadma or one of his family members while visualising himself as Ratnapadma or one of his family members, and draws the relevant hrdaya {dharma-mudrd) on his tongue with his mind.

The fourth segment describes the sadhaka performing the deity-yoga of Ratnavrsti or one of his family members while forming the hand gesture {karmamudra) of the deity with his hands and reciting the relevant hrdaya, and then the sadhaka visualises himself as Ratnavrsti or one of his family members. In conclusion, the sadhaka generates Vajraratna abiding in himself by means of his deity -yoga, and discovers hidden treasure with tire help of the generated and visualised Vajraratna.41


3-2. Secret Rite

41. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 59-3-6-60-5-5.


The secret rite entitled ‘Manirahasyamudrajnana’,42 whose meaning is the secret jwwJra-knowledge of the Jewel-family, employs, as a method of attainment, the four mudrds and sexual deity-yoga, i.e. the perfect union between the sadhaka and his deity.

“One should search for the treasure trove through the union of the two organs (dvaya-indriya-samdpatti).43 If one meditates on the maha-mudra (of Sarvarthasiddhi) and takes possession of it, one can gain treasure.

While forming the supreme samaya (-mudra) (of Ratnadrsti), one should love the female (deity) in the same way. Wherever one makes the mudrd steadfast, there one can point out treasure. One should search for the treasure trove through the union of the two organs. If one meditates on the jndna-mudra (or dharmamudrd) (of Ratnapadma), one produces the knowledge of treasure. One forms the karma-mudra (of Ratnavrsti) through the union of the two organs. Then, wherever one should break open the mudrd, there one can point out treasure.”

This secret rite refers to gaining hidden treasure by means of the sexual union in samadhi between the sadhaka's chosen deity visualised as himself and the deity's consort. In this rite the sadhaka uses the four mudrds of his chosen deity in order to summon, draw in, bind and subdue his deity effectively.


4. Conclusion


The Sarvarthasiddhi Mahamandala is revealed by Akasagarbha or Vajragarbha, who is generated by Vajrasattva abiding in Vairocana and endowed with the image and nature of Vajraratna. Since this mandala is dominated by Akasagarbha symbolising giving or generosity and represents the Body of Akasagarbha, the main characteristic of the mandala is that the four deities occupying the positions of the four Tathagatas, i.e. Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti, have the images of Akasagarbha. The other deities in the mandala also have the characteristics of Akasagarbha because they are generated from the samadhi of Akasagarbha. In addition, all the deities of the mandala except Vairocana hold then own attributes signified by the gem or jewel. The purpose of this mandala guides the sadhaka to generate Akasagarbha in his mind by means of deity-yoga and to find hidden treasure with the help of Akasagarbha. Thus, the sadhaka eliminates poverty for himself with gained treasure, and by sharing it with others he keeps those who have already been converted as Buddhists and accomplishes perfection of generosity (ddna-pdramitd).

42. Tibetan and Chinese 2 both read: “Rahasyamudrdjiidna”.

43. Chinese 2 in this paragraph interprets “the union o f the two organs” as “the union of vajra and lotus”.

44 S. p. 398-2-9, T. p. 262-4-7-5-2, C2. p. 415-1-1-8.


Chapter 20. Ratnaguhya Mudramandala


Chapter 20 of the STTS45 provides an exposition of the Ratnaguhya

Mudramandala, which is classified as the dharani-mandala and constitutes the supreme samaya-mudrd of the Gem-family. Since this mandala symbolises the minds of the main thirty-seven deities generated by Akasagarbha, it is called ‘Ratnaguhya (gem-secret)’ meaning the secret of the minds of the Gem-family. Like the previous dharani-mandalas, all the goddesses generated through the samadhi are manifested as their symbols in the mandala. Amoghavajra outlines this chapter as follows:-

“The second mandala (of the Sarvarthasiddhi) is called the guhya-samaya-mandala. It contains (the main) thirty-seven deities. (This section of the tantra) explains the rite of guiding the pupil to enter (the mandala). The text explains the method of seeking the treasure trove (nidhdna), and the method of rapid completion of the collection (samdsa) of merit (punya) for perfection of generosity (ddna-paramitd).


1. Structural Analysis of Chapter 20


(1) The first section of chapter 20 of the STTS starting with the words, “Then the Lord once again”48 and ending with the words, “OM SARVABHISEKA49 PUT A SAMAYE HUM”,50 provides an exposition of the second samadhi called the supreme mandala-ldng of the Ratnaguhya Mudramandala.

(2) The next section starting with the words, “Then, the Lord”51 and ending with the words, “Otherwise you will suffer great poverty, and you will fall into hell immediately after death”,52 explains the mandala-rites of the Ratnaguhya Mudramandala.

45. S. chapter 20, pp. 404~415, T. pp. 263-3-4-264-4-7, C2. pp. 416-2-1-419-1-4.

46. Dana-pdrainita is one of six or ten paramitds. The six chief paramitds are ddna (giving, generosity, liberality), sila (virtuous conduct, morality, righteousness), ksanti (forbearance, patience), vitya (energy), dhyana (meditation) and prajna (wisdom). The four supplementary paramitds are updya or upaya-kausalya (skilfulness in the choice or adaptation of the means for conversion or welfare), pranidhdna (aspiration or resolution), bala (strength, power) and jhdna (knowledge). (Har Dayal, The Bodhisattva Doctrine in Buddhist Sans/cr it Literature, the chapter five).


47. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-7-9.

According to the Sanskrit STTS, the explanation of the treasure trove (nidhdna) is mentioned not in this chapter, but in the previous chapter (ch. 19, S. pp. 395-397, T. p. 262-3-1-4-7, C2. p. 414-1-24-3-27).

48. atha bhagavdm punar a p t S. p. 404-2, T. p. 263-3-4, C2. p. 416-2-7.

4 9 . Tibetan reads: “SARVA-TATHAGATA ABHISEKA,\ Chinese 2 reads: “RATNABHISEKA”.

50. S. p. 405-6, T. p. 263-3-8, C2. p. 416-2-20-21.

51. atha bhagavdn: S. p. 405-7, T. p. 263-3-8, C2. p. 416-2-22. Chinese 2 omits: “Lord”.

52. md te mahadarindtyam akdlalcriya narakapatanam sydd: S. p. 409-3-4, T. p. 263-5-5-6, C2. p. 417-2-12.


(3) The next section starting with the words, “One should generate the knowledge of the pledge of one's jewel”53 and ending with the words, “<9M KARMA SIDDHIH” 54 explains the attainment-knowledge of the Ratnaguhya Mudramandala gaining kingship and consecration. This section also includes a secret rite. (4) The final section starting with the words, “Then, one should teach the binding of the maha-mudras (explained) in this mandala and ending with the words, ‘Having made the supreme secret-of-secret-fist into two, one should perform all the actions”,56 describes the rites of binding the four mudrds of the Ratnaguhya Mudramandala. Like the previous dharani-mandalas (chs. 2, 7, 11 and 16), all the maha-mudras of the Ratnaguhya Mudramandala appear in the form of hand gestures.57


2. Structure of the Ratnaguhya Mudramandala


“The supreme 58Mudramandala (of the Gem-family) has tire basic design of the Vajradhatu {Mahamandala) and is called ‘Ratnaguhya (Gem-secret)5.

The whole mandala should be designed in conformity with the {Sarvarthasiddhi) Mahamandala. In its centre one should draw the symbol {mudrd) of the Buddha (Vairocana) according to the instruction. (On the positions of the four Paramitas), one should draw a jewel placed on the seat (paryahka) before the Vajradhatu,59 a jewel-garland,60 a jewel in the lotus,61 and a jewel encircled by (minute) jewels62 (clockwise from the east).63


53. svamanisamayajndnany utpddayet: S. p. 409-4, T. p. 263-5-6, C2. p. 417-2-13.

54. S. p. 412-14, T. p. 264-2-8, C2. p. 418-2-1.

55. athatra mandate mahdmudrabandho bhavati: S. p. 413-1, T. p. 264-2-8, C2. p. 418-2-2,

56. guhyaguhydgrcimustis tu dvidhib'tya sarvakarmikd iti: S. p. 415-9-10, T. p. 264-4-6, C2. p. 419-1-3-4.

Chinese 2 reads: “One should execute all the m udrds employed in the secret worship o f this family by means of the supreme fist in conformity with the rite.”

57. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 143-2-4-3-5.

58. Chinese 2 inserts: “self { s v a j \


59. Sakyamitra interprets the phrase “before the Vajradhatu” as referring to the place of Sattvavajri. (Kosaldlamlcdra, TTP. Vol. 71, No. 3326, p. 41-3-5-6). It is evident that the Vajradhatu in this context indicates the symbol of Vairocana because it is called Vajradhatvlsvari (Queen of the Vajradhatu) according to the Vajraguhya Vajramandala (ch. 2).


60. Chinese 2 adds: “in the south”.

61. Chinese 2 adds: “in the west”.

62. Chinese 2 adds: “in the north”.

63. Concerning these four symbols occupying the places of the four Paramitas, Anandagarbha adds that the place of Sattvavajri is occupied by a wish-granting-gem (cintdmani) signified by a five-pronged vajra whose top faces the east and is endowed with a blazing (light); that the place of Ratnavajri is occupied by a garland of the precious gem; that the place of Dharmavajri is occupied by a wish-granting-gem in the centre of the sixteen lotus-petals; and that the place ofKarmavajri is occupied by a wish-granting-gem encircled by minute jewels. (!Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-2-3-6).


Having approached the mandala of Sarvasiddhi64 with the vajraimpulse, one should draw the great vayra-jewel65 in the centre of the vajra-gem. On all sides of it, the gem-master should duly draw (the four Mahasattvas') own symbols endowed with the jewel (- sign) in correct order, (i.e. (1) a five-pronged vajra signified by the jewel, (2) a hook signified by the jewel, (3) both an arrow and a bow of the gem, and (4) the image of finger-snapping by the two fists wrists of which bear the jewels66).

Having approached the second mandala67 in the same way, one should draw in its centre the jewel possessed of two eyes. On all sides of it, one should duly draw (the four Mahasattvas') own symbols endowed with the jewel-sign in correct order, (i.e. (5) a garland of the wish-granting-gem, (6) a jewel in the centre of the solar disc, (7) a banner of the wish-granting-gem endowed with a gem-handle on a half moon, and (8) a jewel in a set of teeth inserted between the two vajras5S).

Having approached (the third mandala)69 with the vq/ra-impulse, one should draw the jewel in the lotus (at its centre). One should duly draw (the four Mahasattvas1) own symbols endowed with the jewel-sign70 on all sides of it in correct order, (i.e. (9) a sixteenpetalled lotus having the wish-granting-gem,71 (10) a sword signified by the jewel, (11) a jewel in the centre of the eightspoked wheel, and (12) a tongue signified by a jewel72).

Having approached the fourth supreme mandala73 with the vajraimpulse, one should place in its (centre) the gem-shower endowed with the vajra and gem. It is duly surrounded by (the four) karmamudrds endowed with the jewel-sign in correct order, (i.e. (13) a universal vajra signified by the jewel, (14) a set of armour signified by a jewel, (15) a set of teeth signified by a jewel, and (16) a five-pronged vajra signified by a jewel which is firmly .clasped by the fist of the pledge74).”

The external structure of the Ratnaguhya Mudramandala is the same as that of the previous Sarvarthasiddhi Mahamandala. The main characteristic is that the 64. Chinese 2 adds: “positioned in the east”.


65. Only Sanskrit reads: “great gem-jewel (maha-ratna-mani)”.
66 Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-2-7-3-1.
67. Chinese 2 adds: “positioned in the south”.
68. Kosalalamkara, TTP. Vol. 71, No, 3326, p. 41-4-8—5-2; Tattvaloka, TTP. Vol. 72, No.
3333, p. 65-3-2-5.
69. Chinese 2 adds: “positioned in the west”.
70. Sanskrit and Tibetan both omit this sentence.
71. Concerning this first symbol, Sakyamitra asserts that an image of giving the jewel with both
hands on the lotus is drawn. (Kosalalamkara, TTP. Vol. 71, No. 3326, p. 41-5-2-4).
72 Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-3-5-7.
73. Chinese 2 adds: “positioned in the north”.
74 Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-3-8-4-2.
75. S. pp. 405-9-408-9, T. p. 263-4-1-5-3, C2. pp. 416-2-24-417-1-26.

mandala is filled with the deities' symbols which are basically similar to those of the Vajragukya Vajramandala (ch. 2), but since the Ratnaguhya Mudramandala belongs to the Gem-family, all the symbols in this mandala are either directly related to or signified by the jewel (mani) or gem (ratna).

Though not specified in the above quotation, a stupa well placed on the seat called Vajradhdtvisvari (Queen of the Vajradhatu) is the symbol of Vairocana according to the Vajragukya Vajramandala (ch. 2). However, in the above quotation, the great vajra-jewel in the centre of the vajra-gem, the symbol of Sarvarthasiddhi, is explained by Sakyamitra as a great jewel signified by the vajra in the centre of jewel consisting of eight parts, six comers, or twenty parts.76 Anandagarbha adds that a wish-granting-gem signified by the five-pronged vajra is drawn in the centre of the eight-spoke-wheel-shaped jewel.77 The jewel possessed of two eyes, the symbol of Ratnadrsti, is given a slightly different interpretation by Sakyamitra and Anandagarbha. While the former comments a jewel drawn with two eyes are made in its centre,78 the latter describes a wish-granting-gem drawn in the middle of the two eyes.79 The jewel in the lotus, the symbol of Ratnapadma, which according to Anandagarbha is a sixteen-petalled lotus having the wish-granting-gem is the same as the symbol of Samadhijnanagarbha (marked as the indicated number (9) in the above).80 The gem-shower, the symbol of Ratnavrsti, is endowed with the vajra and gem, which according to Anandagarbha is a wish-granting-gem showering gems encircled by minute jewels.

In the above quotation, the indicated numbers refer to the sixteen Mahasattvas' symbols in correct order. In addition, the description of the symbols of the eight Offerings and the four Guardians is omitted because they are the same as the symbols drawn in the Vajragukya Vajramandala (ch. 2), the only difference being that they are signified by the jewel or gem. According to Anandagarbha, this mandala bears the symbols of the Bhadrakalpa Mahabodhisattvas at the four directions of the external mandala,


3. Attainment-Knowledge

3-1. Manisamayajndna

The attainment-knowledge83 of the Ratnaguhya Mudramandala is entitled ‘Manisamayajndna\ which means the knowledge of the samaya-mandala (or dhdram-mandala) of the Jewel-family. This knowledge which guarantees the

76. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 41-4-2-3.
77. Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-2-1-2.
78. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 41-4-6.
79. Tattvaloka, TTP. Vol. 72, No. 3333, p. 65-3-1-2.
80 Ibid., p. 65-3-5-6.
81. Ibid., p. 65-3-7-8.
82. Ibid., p. 65-4-7-5-1.
83. S. pp. 409-4-411, T. pp. 263-5-6-264-2-4, C2. pp. 417-2-13-418-1-15.

sadhaka kingship and consecration is generated from meditating on the symbol of Sarvarthasiddhi, i.e. vajra-gQm (vajra-ratna) referring to the wish-granting-gem signified by the five-pronged vajra. “If one draws the vajra-gem in space through the samadhi of Vajraratna (referring to the deity -yoga of Sarvarthasiddhi or one of his family members), and places it on one's forehead, one can surely become a king.

If one forms the supreme samaya (-mudra) 84 (of Ratnadrsti or one of his family members) and draws the vajra-gem in space,85 and places it in the consecration-positions,86 one surely gains kingship.


If one draws the vajra-gem in space88 through the samadhi of Vajraratna (referring to the deity -yoga of Ratnapadma or one of his family members),89 and places it (in the position of consecrating) the knowledge-gem, one can make oneself a king.90 If one forms the karma-mudra (of Ratnavrsti or one of his family members) and draws the vajra-gem in space, and places it in one's own position, one can make oneself a Icing.91”

“If one meditates on the vajra-gem over (one's) heart, and visualises the bodily image (of one's deity), one attains the supreme marvellous consecration (of Sarvarthasiddhi). If one meditates on the vajra-gem on (one's) forehead with a well concentrated mind, and forms (the samaya-mudrd of) Ratnavajri, one can become a Icing everywhere.

If one meditates on the vajra-gem on (one's) tongue through the samadhi of Vajraratna, one can attain consecration in Dharmalcingship. If one meditates on the vajra-gem on one's crown with a well concentrated mind, and forms the karma-mudra (of one's deity), one can become a master of good-action,” “If one draws the vajra-gem on a cloth (or wall, board) or elsewhere (while conceiving of Vajraratna) as oneself, and meditates on the maha-mudra, one can become a great king (of the maha-mudras).

If one draws the highest vajra-gem on a cloth or elsewhere (while conceiving of Vajraratna) as oneself, and meditates on Sattvavajri


84. Tibetan reads: “(the samaya-mudra of) Ratnavajri”.

85. Only Sanskrit omits: “in space”.

86. Tibetan reads: “at one's own position”.

87. Chinese 2 reads: “gem-consecration”.

88. Only Sanskrit omits: “in space”.

89. Chinese 2 reads: “the great dharma-gem-samadhi”.

90 Chinese 2 reads: “gains great Dharma-kingship”.

9i, Chinese 2 reads: “gains iCarma-kingship”.


(referring to the vajra in the moon), one can become a lord of the samaya-mudras.

If one draws the vajra-gem on a cloth or elsewhere (while conceiving of Vajraratna) as oneself, and meditates on the dhyana mudra, 92 one can surely become a lord of the dharma {-mudras). If one draws the highest vajra-gem on a cloth or elsewhere (while conceiving of Vajraratna as oneself), and meditates on the karmamudra, one can become a lord of the karma {-mudras).”

“If one conceives of the vajra-gem made of gold, silver, or any other gem (as the highest vajra-gem) and visualises it at (one’s) heart, one will be consecrated.


If one conceives of the vajra-gem made of gold or any other gem as the highest {vajra-gem) and visualises it on (one's) forehead, one can become a king with a great treasure. If one conceives of the vajra-gem made of gold or any other gem (as the highest vajra-gem) and visualises it in one's mouth, one can become a lord of speech.


If one conceives of the vajra-gem made of gold or any other gem (as the highest vajra-gem) and visualises it on (one's) crown, one can become a lord of universal action.”


As in the attainment-knowledge of the previous Sarvarthasiddhi Mahamandala, according to Anandagarbha,93 the four segments in each paragraph of the above quotation refer to the deity -yogas of the four deities and their families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family. These four sets of rites refer to gaining kingship and consecration in the mundane and supramundane worlds by means of meditating on the vajra-gem and practising the deity -yoga together with binding the deity's four mudras.


3-b. Secret Rite


The secret rite of the Ratnaguhya Mudramandala entitled lManikulasamayamudrarahasyajhdna (the secret-knowledge of the samaya-mudras of the Jewelfamily)’ refers to gaining the attainments by means of sexual yoga, i.e. the unity of the divine and the mundane.

“If one binds the great vajra-jewel and inserts the jewel into the female (deity's) sexual organ (stribhaga)94 while meditating on the maha-mudra (of one's deity), one gains fulfilment.

92. Chinese 2 reads: “dharma-mudra”.

93. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 66-l-l~67-3-5.


94. Sakyamitra interprets the above phrase ‘binding the great vajra-jewel’ as ‘making with a piece of wood or gold the great vajra-jewel which indicates the jewel signified by the vajra and provides the supreme attainment of wishes’. In addition, he comments that the term ‘female’ in this context symbolises the hand gesture (.samaya-mudrd) and ‘sexual organ’ indicates the internal space (formed by both hands). Thus, when the sadhaka approaches or attains the


If one binds the jewel of the supreme samaya {-mudrd) and (inserts the jewel into) the female (deity's) sexual organ while forming the supreme samaya (-mudra) (of one's deity), one can gain fulfilment in all consecrations. If one binds the great vajra-jewel and inserts the jewel into the female (deity's) sexual organ while meditating on the dharma mudra (of one's deity), one can gain the supreme fulfilment. If one binds the jewel of the karma-mudra and (inserts the jewel into) the female (deity's) sexual organ while forming the karmamudra (of one's deity), one can gain the supreme fulfilment in all actions.”95

The above four segments also refer to the deity-yogas of the four deities and their families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family respectively. This rite demonstrates that by means of deity -yoga and the four mudras, the sadhaka performs perfect sexual union between his chosen deity, whose image is visualised as himself in conformity with the description of the previous Sarvarthasiddhi Mahamandala, and the corresponding female deity generated in the Ratnaguhya Mudramandala because all the deities in this mandala are generated in the form of a goddess during samadhi. As the result of this rite, the sadhaka is identical to and gains the power of Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti.


4. Conclusion


Since the Ratnaguhya Mudramandala representing the Mind of Akasagarbha is the dharani-mandala of the Gem-family, the bodily images of the deities of the Sarvarthasiddhi Mahamandala are replaced in this mandala by their symbols or attributes, most of which are designed in conformity to those of the Vajraguhya Vajramandala (ch. 2), but are signified by the jewel or gem symbolising Akasagarbha or the Gem-family. Thus, in order to gain the attainments described in this chapter, i.e. kingship and consecration, the sadhaka begins with the meditation on the symbols such as the vayra-gem drawn in the mandala. By means of meditating on the symbol of his chosen deity, the sadhaka attains his deity, and finally generates Akasagarbha abiding in his mind. The kingship described in this chapter symbolises D/mrma-kingship in that the sadhaka can perfectly control his body, speech, mind and action.


deity, he puts the vajra-jewel into the hole (formed by both hands). (Kosalalamkara, TTP.

Vol. 71, No. 3326, p. 42-4-3-5).

95. S. p. 412-2-9, T. p. 264-2-5-7, C2. p. 418-1-17-24.


Chapter 21. (Manikula) Jnanamandala


Chapter 21 of the provides an exposition of the {Manikula)

Jnanamandala, which is classified as the dharma-mandala and constitutes the supreme dharma-mudra of the Gem-family. This mandala also focuses on the main thirty-seven deities, who in the mandala hold their own attributes and sit cross-legged on the five-pronged vajras symbolising knowledge of the Gem family. According to Amoghavajra, the STTS in this chapter explains the method of practising the samadhi of the Gem-family, which is a method of gazing at the Bodhisattva Akasagarbha (or Vajragarbha), after calming the mind, making the mind endure, making the mind gently harmonious, and liberating the mind.


1. Structural Analysis of Chapter


(1) The first section of chapter 21 of the STTS starting with the words, “Then the Lord once again”98 and ending with the words, “OM SARVABHISEKA-JNANA H U M '99 provides an exposition of the second samadhi called the supreme mandala-Icing of the {Manikula) Jnanamandala.

(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva Akasagarbha”100 and ending with the words, “You should not tell anyone who has not seen the Dharma-mandala,102 otherwise you will die instantly without attaining success”,103 explains the mandala-rites of the {Manikula) Jnanamandala. (3) The next section starting with the words, “One should generate the knowledge of the dharma of the Gem-family”104 and ending with the words, “SARFA GUHYA JNANA SARFA-SIDDHIM ME PRAYACCHA HUM”,105 explains the attainment knowledge of the {Manikula) Jnanamandala consisting of four sets of samadhi rites. This section also includes a secret rite.


(4) The final section starting with the words, “Then, one should bind the mahamudra accordingly”106 and ending with the words, “One should establish


96. S. chapter 21, pp. 416-423, T. pp. 264-4-7—265-3-6, C2. p. 419-1-5-420-3-22.

97. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-10-13.

9S. atha bhagavan punar api: S. p. 416-2, T. p. 264-4-7, C2. p. 419-1-6.

" . S. p. 417-6, T. p. 264-5-3, C2. p. 419-1-23.

10°. athdkasagarbho bodhisattvo mahasattvah: S. p. 417-7, T. p. 264-5-3, C2. p. 419-1-24.

10f Chinese 2 adds: “this secret Dharma”.

102. Tibetan and Chinese 2 both omit: “mandala".

103. na tvaya adrstadharmamandalasya valctavyam md te maranakdlah sighram evdsiddhasya sydd: S. p. 419-2-3, T. p. 264-5-8, C2. p. 419-2-26-3-2.

Chinese 2 reads: “without avoiding misfortune”, instead of “without attaining success”.

104. maniladadharmajndndny utpadayet: S. p. 419-4, T. pp. 264-5-8-265-1-1, C2. p. 419-3-3.

105. S. p. 422-14, T. p. 265-3-3, C2. p. 420-2-25-27.

106. tato mahdmudram yathdvad badhniydt. S. p. 422-15, T. p. 265-3-4, C2. p. 420-2-28.


succinctly the karma-mudrds in conformity with the positions”,107 briefly describes the rites of binding the four mudrds of the (Manikula) Jnanamandala,


2. Structure o f the (Manikula) Jnanamandala

“The supreme Jnanamandala (of the Gem-family) has the basic design of the Vajradhatu {Mahamandala) and is called iRatnajhana (Gem-knowledge)’.

The whole mandala should be designed in conformity with the (.Sarvarthasiddhi) Mahamandala. One should draw (the deities who hold their own) emblems over their hearts in conformity with the Dharmamandala.”


Like the previous dharma-mandalas, the deities in the {Manikula) Jnanamandala sit cross-legged and hold their own symbols over their hearts by forming the vajrabond with both hands.112 In addition, each of these deities is drawn in the centre of the five-pronged-vajra on the lunar-disc.113


3. Attainment-Knowledge


3-a. Manikuladharmajhdna


The attainment-knowledge of the {Manilaila) Jnanamandala entitled ‘Manikuladharmajhana’, which means the knowledge of the dharma {-mandala) of the Jewel-family, consists of the following four sets of samadhis. “Having drawn Vajragarbha (or Akasagarbha) on a cloth or elsewhere in samadhi (i.e. with thought having attained one pointedness), one should meditate on him. Then, one should plead while uttering: ‘Bestow the gem (of accomplishing all) wishes!’. Having drawn Vajragarbha on a cloth or elsewhere in samadhi, one should meditate on him. Then, one should plead while uttering once: ‘Bestow, bestow the gem!’.

Having drawn Vajragarbha on a cloth or elsewhere, one should reflect on him in samdpatti. Then, one should plead for knowledge (while uttering): ‘Bestow good dharma Having drawn Vajragarbha on a cloth or elsewhere, one should reflect on him in samdpatti. Then, one should plead (while uttering): ‘Bestow good action!’.”


107. karmamudrah samasena ycitha sthanesu samsthayed iti: S. p. 423-4~5, T. p. 265-3-5, C2. p. 420-3-20.

108. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 143-3-5-4-7.

109. Chinese 2 reads: “sva-jiidna-mandala”.

110 Chinese 2 reads: “Svaratnajndna

i n . S. p. 417-9-12, T. p. 264-5-3-5, C2. p. 419-1-26-2-1.

112. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 44-5-7-8.

113. Tattvaloka, TTP. Vol. 72, No. 3333, p. 71-3-3-5.

114 S. pp. 419-5-421, T. p. 265-1-1-2-7, C2. pp. 419-3-4-420-2-8.


"One should visualise the Satsattva (or Mahasattva) Akasagarbha in space or elsewhere with a well-concentrated mind, and should plead for the fulfilment of intended wishes (artha). One should visualise the Satsattva Akasagarbha in space or elsewhere with a well-concentrated mind, and should plead for the accumulation of gems.

One should visualise the Satsattva Akasagarbha in space or elsewhere with a well-concentrated mind, and should plead for the perfection of dharmas.

One should visualise the Satsattva Akasagarbha in space or elsewhere with a well-concentrated mind, and should plead for the accumulation of actions.”

“One should draw Vajragarbha in (one's) heart with a wellconcentrated mind and meditate upon him. Whenever one feels (one's) heart throbbing, one will receive the treasure from the attained (one's deity).

One should draw and meditate upon Vajragarbha on (one's) forehead. Whenever one feels (one's) head shaking, one gains consecration.

One should insert and meditate upon Vajragarbha in (one's) mouth. Whenever one feels (one's mouth) open, one accomplishes that word (= what one says).

One should place and meditate upon Vajragarbha on one's crown. Whenever one feels (one's crown) radiating, one can fly.” “If one meditates upon the bodily image (maha-mudra) of Vajragarbha with a well-concentrated mind, and pleads: ‘Bestow the siddhi on me!5 (while reciting): iILI-RATNA\ one attains the siddhi.

If one forms the samaya (-mudra) of Akasagarbha with a wellconcentrated mind, and pleads: ‘(Bestow) the consecrations (on me)!5 (while reciting): ‘MILI-RATNA\ one attains (the consecrations).

If one enters the samadhi of Vajragarbha with a well-concentrated mind, and pleads: ‘Bestow the dharma on me!5 (while reciting): ‘CILI-RATNA\ one attains (the dharma).

If one forms the supreme karma (-mudra) of Akasagarbha with a well-concentrated mind, and pleads: ‘(Bestow) all gems (on me)!5 (while reciting): ‘KILI-RATNA\ one gains (the gems).” Four Vajragarbhas or Akasagarbhas described in each paragraph of the above quotation refer to the four deities and their families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family respectively. The above four sets of samadhis represent a practice of a course of meditative techniques consisting of four stages. In the first stage, the sadhaka begins his meditation through the visible external object, i.e. the image of


Akasagarbha or Vajragarbha drawn on the mandala. In the second stage, he transforms the meditative object from the visible into invisible space. In the third stage, he transfers it from the external world into his internal body, i.e. the four consecration-places of the body. In the last stage, he completes his meditation by generating the deity -yoga by means of the four mudras and visualising his deity as himself. As a result of these samadhi-practices, the sadhaka gains the power of Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti.


3-h. Secret Rite

The secret rite of the (.Manikula) Jnanamandala is entitled 6Manijndnarahasyamudrdjhdna ’ which means the knowledge of the secret mudrd of the Jndna {-mandala) of the Jewel-family. Anandagarbha interprets the secret mudrd in this context as rejoicing in the presence of Vajragarbha and being united with him115:- “Through the union of the two organs116 {dvayendriyasamdpatti), if one conceives of Vajragarbha in space or elsewhere, one attains supreme success.

Through the union of the two organs, if one conceives of Vajragarbha as if actually drawing (the image of Vajragarbha), one can attain consecration.

Through the union of the two organs, if one conceives of Vajragarbha as if enjoying a beautiful woman, one can gratify the whole world.

Through the union of the two organs, if one conceives of Vajragarbha (who assumes an infinite number of) forms of the dust particles in all regions of space, one can surely attain universal success.”

According to Anandagarbha, the four segments of this quotation correspond to the deity -yogas of the four deities and their families, i.e. Sarvarthasiddhi and his family, Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family respectively.118 As already seen several times in the previous chapters, this secret rite also employs the method known as the dvayendriyasamdpatti, which according to Sakyamitra119 is when at the time of executing the chosen deity -yoga, the sadhaka summons, draws in, binds, and controls the deity's organ in his organ, and then realises union with his deity. Through this dvayendriyasamdpatti, the sadhaka perfects all his actions universally.


4. Conclusion

115. Tattvaloka, TTP. Vol. 72, No. 3333, p. 73-3-3~4.

116. Chinese 2 reads: “the union of vajra and lotus”.

117. S. p. 422-2-9, T. p. 265-2-8-3-2, C2. p. 420-2-10-17.

118. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 73-3-4-74-2-4.

119. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 45-3-8-5-1.


The {Manikula) Jnana Mandala represents the Speech of Akasagarbha, which is manifested in the mandala as the main thirty-seven deities of the Gem-family abiding in samadhi. Since this mandala emphasises the samadhi, the sadhaka is required to practise the various samadhi-skills in order to generate Akasagarbha and to fulfil all the wishes of all living beings as a remedy for avarice. The attainments gained as a result of the samadhi-practices described in this chapter are summarised as the fulfilment of intended wishes, the accumulation of gems, the perfection of dharmas and the accumulation of actions.


Chapter 22-a. (Manikula) Karmamandala

Chapter 22-a of the STTS provides an exposition of the (Manikula)


Karmamandala, which is classified as the karma-mandala and constitutes the supreme karma-mudra. of the Gem-family. Amoghavajra provides a brief outline for this chapter as follows

“The fourth mandala (of the Sarvarthasiddhi) is called the karmamandala. It contains (the main) thirty-seven deities. (This section of the tantra) explains the rite of guiding the pupil to enter (the mandala), and explains not only the method of empowerment of the action of digging for the treasure trove, but also the rite of the great worship of all the Buddhas in the Gem-family.”


I. Structural Analysis o f Chapter 22-a


(1) The first section of chapter 22-a of the STTS starting with the words, “Then the Lord once again”122 and ending with the words, “OM VI&VABHISEKE’\ 123 provides an exposition of the second samadhi called the supreme mandala-king of the (Manikula) Karmamandala.

(2) The next section starting with the words, “Then, the Bodhisattva Mahasattva AkaSagarbha”124 and ending with the words, “You will die. One should say thus”,125 explains the mandala-rites of the (Manikula) Karmamandala.

(3) Tire next section starting with the words, “One should teach the knowledge of the Karma {-mandala) of the Gem-(family)”126 and ending with the words, “One can gratify the whole world”,127 explains the attainment-knowledge of the (Manihda) Karmamandala. A secret rite is included in this section. (4) The final section starting with the words, “Then, accordingly one gains the supreme attainment through the knowledge of the mahd-mudras”128 and ending with the words, “One should accomplish the karma-mudras”,129 briefly describes the four mudras of the (Manilada) Karmamandala .

12°. S. chapter 22-a', pp. 424-429, T. pp. 265-3-6-266-1-4, C2. pp. 421-1-1-422-2-15.

121. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-14-16.

122 atha bhagavam punar api: S. p. 424-2, T. p. 265-3-6, C2. p. 421-1-7.

123. S. p. 425-2, T. p. 265-4-3, C2. p. 421-1-23.

Tibetan reads: “OM VlSVABHISEKA HUMP Tattvalolm reads: “OM VAJRA VISVABHISEKE HUM.”

124. athakasagarbho bodhisattvo mahasattva'. S. p. 425-3, T. p. 265-4-3, C2. p. 421-1-24.

Tibetan reads: “ aty a-Akasagarbha”.

125. maranam bhaved iti ulctva: S. p. 427-14, T. p. 265-5-4, C2. p. 422-1-3.


126. manikarmajnandni silcsayet: S. p. 427-15, T. p. 265-5-4, C2. p. 422-1-3. Tibetan omits: “Gem”. Tattvalolm reads: “Gem-family”.

127. sarvalokam sa ragayed iti: S. p. 428-12, T. p. 266-1-1, C2. p. 422-1-21.

128. tato yathavan mahdmudrajndnenottamasiddhaya iti: S. p. 428-13, T. p. 266-1-1, C2. p. 422-1-22.

129. karmamudrah samddhayed iti: S. p. 429-7-8, T. p. 266-1-3, C2. p. 422-2-15.

13°. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 143-4-7-5-7.


2. Structure o f the (Manikula) Karmamandala


“The supreme Karmamandala (of the Gem-family) has the basic design of the Vajradhatu {Mahamandala) and is called ‘Ratnakarma (Gem-Action)’. The whole mandala should be designed in conformity with the (iSarvarthasiddhi) Mahamandala. In its centre one should duly place the image of the Buddha (Vairocana). One should draw the Ratnasattvis131 in conformity with the Mahasattvas.”

As in the previous karma-mandalas, only the five deities occupying the five Tathagatas' positions in the mandala, i.e. Vairocana, Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti assume male forms and their images are the same as those of the Sarvarthasiddhi Mahamandala, but the other deities including Bhadrakalpa Mahabodhisattvas assume female forms though they refer to those of the Sarvarthasiddhi Mahamandala. Since the {Manilmla) Karmamandala symbolises worshipping all the Tathagatas, these deities make the gestures of offering their attributes signified by the gem or jewel to the five deities occupying the five Tathagatas' positions.


3. Attainment-Knowledge


3-a. Manikarmajhdna


The attainment-knowledge of the {Manikula) Karma Mandala entitled ‘Manikarmajhdna\ which means the (attainment-) knowledge of the karma {-mandala) of the Jewel (-family), guides the sadhaka to achieve the following four goals, i.e. the empowerment of all the Tathagatas, the consecration of all the Tathagatas, the conversion of all living beings, and the accomplishment of all wishes. “While making the bodily image {maha-mudra) of Vajragarbha with a well-concentrated mind, if one worships all the Buddhas with all offerings, one can control them.

While forming the supreme samaya-mudrd (of Vajragarbha) in samadhi, if one worships all the Buddhas (with all offerings), one can attain the self-consecrations.

While joining in the samadhi of Vajragarbha with a well concentrated mind, if one worships all the Buddhas (with all offerings), one can destroy anything in the world.

While forming the karma-mudra (of Vajragarbha) in the samadhi of Vajragarbha, if one worships all the Buddhas (with all offerings), one can accomplish all wishes instantly.” According to Anandagarbha, these four goals correspond to the deity-yogy of the four deities and their families respectively, i.e. Sarvarthasiddhi and his family, 13 f Tibetan reads: “Ratnapujas”.

132. S. p. 425-5-9, T. p. 265-4-3-5, C2. p. 421-1-26-2-5. 133. Chinese 2 inserts: “gem”. 134 S. pp. 427-16-428-4, T. p. 265-5-4-7, C2. p. 422-1-4-11.


Ratnadrsti and his family, Ratnapadma and his family, and Ratnavrsti and his family.135 In this rite the sadhaka generates and visualises the image of his deity described in the Sarvarthasiddhi Mahamandala by the four mudrds of the deity, and worships the visualised deity with the female deities generated through tire (Manikula) Karmamandala. Then, he gains the power of his deity.


3-b. Secret Rite


The secret rite of the {Manikula) Karmamandala called *Rahasyamudrakarmajhdna (the knowledge of the action of the secret mudra)’ refers to gratifying the whole world by means of performing sexual deity-yoga and worshipping all the Buddhas.

“If one performs the union of the two organs {dvaya-indriya samapatti)

through the samadhi of Vajragarbha, and worships all the Buddhas, one can gratify the whole world.”

According to this quotation, while visualising himself as the bodily image of his chosen deity described in the Sarvarthasiddhi Mahamandala, if the sadhaka generates the deity's consort by means of reciting the relevant vidyd described in the {Manikula) Karma Mandala, and unites and worships himself as his deity with the deity's consort, then he gains the power of his deity and gratifies the whole world.


4. Conclusion


The {Manilmla) Karma Mandala represents the Action of Akasagarbha. In this mandala, the female thirty-two out of the main thirty-seven deities of the Gem family offer their own attributes signified by the gem or jewel to the five male deities, i.e. Vairocana, Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti. Thus, as the female deities worship these five deities in the mandala, if the sadhaka visualises and worships Akasagarbha by means of the female deities generated through the vidyds described in this chapter, then he can attain the nature of Akasagarbha.

135. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 75-5-5-76-2-7.

136. Chinese 2 interprets “the union of the two organs” as “the union of vajra and lotus”.

137. S. p. 428-11-12, T. pp. 265-5-8-266-1-1, C2. p. 422-1-20-21.


Chapter 22-b. Epilogue of Part Four


As chapter 18-b serves as an epilogue of part three, so chapter 22-b of the Sanskrit STTS serves as an epilogue of part four and provides information about two mandalas and related rites, i.e. Manikula Caturmudramandala classified as the catur-mudra-mandala and Sarvarthasiddhi Mandala classified as the eka-mudrdmandala.


A. Manikula Caturmudramandala


Since the Manikula Caturmudramandala138 consists of the basic and essential qualities of the previous four mandalas of the Gem-family, corresponding to the four mudrds, they are represented as four symbols in the mandala, and the sadhaka gains the attainments described in the previous four mandalas by means of performing the rite in this mandala.

A-1. Structural Analysis o f the First Part o f Chapter 22-b

(1) The first section of the first part of chapter 22-b of the STTS starting with the words, “Then the Lord”139 and ending with the words, “OM VlfVA DRSTT\]AQ provides an exposition of the fifth samadhi called the supreme mandala-Icing of the Manikula Caturmudramandala.


(2) The next section starting with the words, “Then, the Bodhisattva Akasagarbha”141 and ending with the words, “You should not tell anyone”,142 gives a concise description for the mandala-rites of the Manilmla Caturmudr Mandala.

(3) The next section stalling with the words, “Then, one should generate the knowledge”143 and ending with the words, “HA HA HA HA T R A H \144 explains the attainment-knowledge of the Manikula Caturmudra mandala,

(4) The final section, i.e. “Then, one should teach the four practices in conformity with the binding of the four mudras. One should be accomplished in like manner.”,145 refers to the rite of binding the four mudras of the Manikula Caturmudra-mandala.

13S. S. pp. 430-432 of chapter 22-b, T. p. 266-1-4-2-4, C2. p. 422-2-16-3-22. 139. atha bhagavan: S. p. 430-4, T. p. 266-1-4, C2. p. 422-2-18. 140. S. p. 431-6, T. p. 266-1-7, C2. p. 422-2-29.

141. acharya akhasagarbha bodhisattva: S. p. 431-7, T. p. 266-1-7, C2. p. 422-3-1.

Tibetan and Chinese 2 both read: “Bodhisattva Mahasattva Akasagarbha”. Tattvaloka reads: “Bodhisattva Akasagarbha”.

142. na tvaya kasyacid valctavyam iti: S. p. 431-11-12, T. p. 266-2-1, C2. p. 422-3-5-6. 143. tato jnanany utpadayet: S. p. 431-13, T. p. 266-2-1, C2. 422-3-7. 144 S. 432-10, T. p. 266-2-4, C2. p. 422-3-20.

Tibetan reads: "PIA HA HA TVA". Tattvaloka reads: "HIHI HA HA HA TA'\

145. tato yathavac caturmudrdbandham caturvidham sikmyet tathaiva siddhaya iti: S. p. 432- 11-12, T. p. 266-2-4, C2. p. 422-3-21-22.


A-2. Structure o f the Manikula Caturmudramandala The Manilmla Caturmudramandala focuses on Vairocana and the four symbols representing the previous four mandalas of the Gem-family. “As for the supreme Mudra Mandala 147 (of the Gem-family), one should construct the mandala by means of (drawing the previous) Caturmudrd (-mandalas).”

A difference of interpretation concerns Vairocana placed in the centre of the mandala. Whereas Anandagarbha comments that the image of Vairocana is drawn in conformity with the description of the Sarvarthasiddhi Mahamandala, Sakyamitra replaces the image of Vairocana with the symbol, i.e. the octagon-gemshaped stupa. However, both commentators agree that around Vairocana the four symbols are drawn in the positions of the four Tathagatas, i.e. the gem signified by the vajra for Sarvarthasiddhi, the gem signified by the gem for Ratnadrsti, the gem signified by die lotus for Ratnapadma, and the gem signified by the crossed vajra for Ratnavrsti .149 According to Amoghavajra, this mandala contains twenty-one deities, excluding the sixteen Mahasattvas out of the main thirty-seven deities.


A-3. Attainment-Knowledge

The attainment-knowledge of the Manikula Caturmudramandala refers to gaining the power of Vajraratna by means of executing the deity -yoga of Vajraratna on the forehead as follows:- “If one binds the vajra-gem in the samadhi of Vajraratna, and places it on (one's) forehead, one can gain the universal attainment

Sakyamitra explains that the samadhi of Vajraratna means the meditation {samadhi) on the bodily image {maha-mudra) of Akasagarbha, and ‘binding the vajra-gem {vajra-ratna) ’ refers to forming the gesture {mudra) of Vajraratna.152 While Sakyamitra regards the vajra-gem as the hand gesture, Anandagarbha literally interprets it as the wish-granting-gem signified by die five-pronged vajra. Thus, according to Anandagarbha, while executing his deity-yoga, the sadhaka emanates the golden coloured vajra-gem on the lunar disc of his forehead generated from the syllable TRA (or TRAH, the vidyd of Vajraratna).

Tibetan reads: “Then one should teach the four mudras. One should accomplish all the attainments accordingly .”

146, Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 143-5-7-144-1-8.

147. Chinese 2 reads: “Caturmudramandala”.

14S. Chinese 2 reads: “the previous Caturmudramandalas”.

S. p. 431-9-10, T. p. 266-1-8, C2. p. 422-3-3-4.

149. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 47-4-3-5; Tattvaloka, TTP. Vol. 72, No. 3333, p. 77-3-8-4-4.

150 OEAVS, TSD. Vol. 18, No. 869, p. 286-1-17.

151. S. p. 431-14-15, T. p. 266-2-1-2, C2. p. 422-3-8-9.

152. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 47-4-7—8.

153. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 77-5-3-78-1-1.


A-4. Secret Rite


The STTS explains the following secret rite of the Manilmla Caturmudramandala called ‘Rahasyamudra (the secret mudra)’

"If one puts together two foreheads of either the master and consort or the female (deity) and male (deity), and makes the two kiss (each other), one is successful.”

According to Anandagarbha, the master in this quotation refers to the deities such as Sarvarthasiddhi, and the consort refers to the female-shaped (sixteen) Mahasattvas and (eight) Offerings described in the {Manilmla) Karmamandala,155 In this rite if the sadhaka visualises himself as the partner of his chosen male or female deity and also generates his deity, and joins the pair together perfectly in his sexual deity-yoga, then he is identical to his deity.


A S . Conclusion


The Manikula Caturmudramandala consists of Vairocana and the four symbols of the four deities (i.e. Sarvarthasiddhi, Ratnagiri, Ratnapadma and Ratnavati), in which the four deities' symbols refer to the four Paramitas of the Gem-family guiding the sadhaka to generate the four deities in his mind. Since this mandala has the function of assembling the essential principles of the previous four mandalas of die Gem-family, i.e. die Body, Mind, Speech and Action of Akasagarbha, the sadhaka attains die four deides by means of meditating on die four symbols to realise the Body, Mind, Speech and Action of Akasagarbha which are symbolised as the four deities.


B. Sarvarthasiddhi Mandala


Since the Sarvarthasiddhi Mandalafocuses on only the image of a predominant deity of the family, i.e. Akasagarbha, or more specifically, Sarvarthasiddhi having an image of Akasagarbha, and contains the essence of all the attainments of the Gem-family, this is regarded as an eka-mudrd-mandala. Thus, if the sadhaka successfully practises the d&ity-yoga of Sarvarthasiddhi in the mandala, then he gains all the attainments of the Gem-family. According to Amoghavajra, the sixth mandala (of the Gem-family) is called the eka-mudrd-mandala and contains thirteen deities. This section of the tantra explains the rite of guiding the pupil to enter the mandala, and also explains the samadhi of both cultivating a single deity and cultivating all the Yaksas, who are the manifestations of the Lord Vajradhara Akasagarbha.157


B-l. Structural Analysis o f the Second Part o f Chapter 22-b

154. Chinese 2 reads: “one gains the attainment of the secret method”.

S. p. 432-5-6, T. p. 266-2-3, C2. p. 422-3-15-16.

155. Tattvaloka, TTP. Vol. 72, No. 3333, p. 78-1-2-3.

156. S. p. 433 of chapter 22-b, T. p. 266-2-4-8, C2. pp. 422-3-23-423-1-8.

157. OEAVS, TSD. Vol. 18, No. 869, p. 286-1-19-21.


(1) The first section of the second part of chapter 22-b of the STTS starting with tire words, “Then the Bodhisattva Mahasattva Akasagarbha and ending with the words, “VAJRA RATNA H U M V59 provides an exposition of the second samadhi called the supreme mandala-king of the Sarvarthasiddhi Mandala. (2) The next section starting with the words, “Then, this is (the description of) the mandala”160 and ending with the words, “One should draw the mandala of universa success accordingly”,162 briefly explains the mandala-rites of the Sarvarthasiddhi Mandala.


(3) The next section starting with the words, “Then, one should teach this mudra knowledge of the secret knowledge and ending with the words, “One obtains the attainment of ordinance”, explains the attainment-knowledge of the Sarvarthasiddhi Mandala.

(4) The next section, i.e. “Then, one should teach the mudra-knowledge of the four signs.165 Having drawn either the sattvas on cloths, or the mudras on mandalas,166 one is accomplished.”, refers to the rite of binding the four mudras of the Sarvarthasiddhi Mandala.


(5) The final section starting with the words, “Then, all the Tathagatas gathered together in a conclave”168 and ending with the words, “the compendium of the Mahayana”,169 constitutes the closing section of part four, which includes a verse praising Akasagarbha by all the Tathagatas.


B-2. Structure of the Sarvarthasiddhi Mandala


The Sarvarthasiddhi Mandala focuses on the mandala positioned in the eastern quarter of the Sarvarthasiddhi Mahamandala (ch. 19), i.e. the mandala of Sarvasasiddhi, which is represented by only Lord Sarvarthasiddhi who has an image of Akasagarbha or Vajragarbha.

“The supreme Mahamandala (of the Gem-family) should be drawn in conformity with the mandala of Sarvasiddhi.”


158. athdlcasagarbho bodhisattvo mahasattva: S. p. 433-1, T. p. 266-2-4, C2. p. 422-3-23.

159 S. p. 433-4, T. p. 266-2-5, C2. p. 422-3-26-27.

160 athatra mandalain bhavati: S. p. 433-5, T. p. 266-2-5, C2. p. 422-3-28. 16 f Tibetan and Tattvaloka both omit: “universal”.

162. yathavat tu samalelchyam sarvasiddhes tu mandalam iti: S. p. 433-7, T, p. 266-2-6, C2. p. 423-1-2.

163. athatra jndnarahasyamudrdjndnam silcsayet: S. p. 433-8, T. p. 266-2-6, C2. p. 423-1-3.

164 kalpasiddhim avdpnuta iti: S. p. 433-10, T. p. 266-2-7, C2. p. 423-1-5.

Tibetan and Tattvaloka both read: “karmasiddhi”.

165. Tibetan and Tattvaloka both read: “the knowledge of the four muclrds'".

166 Chinese 2 adds: “the left lunar circles”.

167. tatas caturvidham mudrdjiidnam silcsayet evam patddisu sattvam mudrdm vd mandalesu

lilchya sadhayed iti: S. p. 433-11-13, T. p. 266-2-7~8, C2. p. 423-1-6-8.

168. atha sarva tathagata punafi samajam agamya: S. p. 434-1, T. p. 266-2-8, C2. p. 423-1-9.

169. mahdydnabhisamgraham iti: S. p. 434-6-7, T. p. 266-3-2, C2. p. 423-1-14.

170 Cf. Tattvaloka, TTP. Vol. 71, No. 3333, p. 144-1-8-3-3.

171. S. p. 433-6-7, T. p. 266-2-5-6, C2. p. 423-1-1-2.


Since the words ‘supreme mahamandala’ have already been used for the Sarvarthasiddhi Maha Mandala, the supreme mahamandala in this quotation refers to the supreme mandala of assuming all the bodily images (maha-mudras) of the main thirty-seven deities of the Sarvarthasiddhi Mahamandala. As in the mandala structure section of chapter 19, the Sarvarthasiddhi Mahamandala is also called the mandala of Sarvasiddhi. Thus, the Sarvarthasiddhi Mandala is designed in conformity with the Sarvarthasiddhi Maha Mandala, and then the image of Sarvarthasiddhi is drawn on the lotus and the moon positioned in the centre of the mandala while reciting the relevant hr day a,m As already mentioned, Amoghavajra comments that this mandala contains the thirteen deities, which refer to Sarvarthasiddhi, eight Offerings and four Door-guardians.


B-3. Attainment-Knowledge


The attainment-knowledge of the Sarvarthasiddhi Mandala entitled ‘Jnanarahasyamudrdjhdna (the knowledge-secret-mwt/ra-knowledge)5 refers to the secret rite of the Sarvarthasiddhi Mandala.

“To the Buddhas, if one offers pleasure attached to desires (kama) such as form (rupa), one gains the attainment of ordinances (kalpa).”

This rite demonstrates that the sddhaka gains all the attainments of the Gem-family while experiencing positively the desires arising in his mind during his deity-yoga, instead of repressing them.


B-4. Conclusion


In order to generate and to realise Akasagarbha, whereas die previous Manilaila Caturmudrdmandala suggests the means of attaining the four deities (i.e. Sarvarthasiddhi, Ratnadrsti, Ratnapadma and Ratnavrsti), the Sarvarthasiddhi Mandala which is the eka-mudra-mandala of the Gem-family focuses on only Sarvarthasiddhi because the four deities are the four different images of Akasagarbha or Vajragarbha. Thus, if the sddhaka performs the deity-yoga of Sarvarthasiddhi, he becomes identical to Sarvarthasiddhi and also attains the nature of Akasagarbha. By means of the power of Akasagarbha, the sddhaka gains wealth by means of discovering hidden treasure and accomplishes perfection of generosity (dana-paramita).

172. According to Anandagarbha, the hrdaya recited in this rite is: lOM VAJRA MANIDHARA SARVARTHASIDDHIM ME PRAYACCHA HO BHAGAVAN VAJRA RATNA HUM .

(Tattvaloka, TTP. Vol. 72, No. 3333, p. 80-2-7-8). This hrdaya appears in the STTS. (S. p. 433-3-4, T. p. 266-2-5, C2. p. 422-3-25-27). 173. Chinese 2 adds: “five”.

Sakyamitra comments that desires in this quotation indicate the five desires arising from the objects of the five senses, i.e. form, sound, smell, taste and touch. (Kosaldlamkara, TTP.

Vol. 71, No. 3326, p. 48-2-5-6).

174. Tibetan reads: “actions {karma)".

S. p. 433-9-10, T. p. 266-2-6-7, C2. p. 423-1-4-5.


Tantra, Uttaratantra and Anuttaratantra of the Mahayana Sutra


Called the Compendium of Truth of All the Tathagatas

According to Amoghavajra,1 part five of the STTS first of all explains the recitations of the verses about the secret-assistance-means (upaya) of all the mandalas. Then, it unfolds the enlightenment of Buddha Shakyamuni as a Transformation-body (nirmana-kciya) manifested in Jambudvipa. Finally, all the Tathagatas praise Vajrasattva by invoking his one hundred and eight names. As Amoghavajra concludes, most of part five consists of sets of verses which describe methods of the various siddhis connected with all the families described in the first four parts of the STTS.

In the Sanskrit STTS edited by Yamada Isshi, part five divides into four chapters, i.e. chs. 23, 24, 25, 26-a and 26-b, under the title ‘Tantra, Uttaratantra and Anuttaratantra of the Mahayana Sutra Called the Compendium of Truth of All the Tathagatas’. David Snellgrove regards the meaning of tantra in this context as ‘a woven pattern of threads of discourse’ because all four chapters of part five comprise a series of ‘set discourses’, in which the attitude of each family in turn is stated with regard to the various kinds of accomplishments (siddhis) which have


been dealt with throughout the STTS. In the first three chapters of part five, (i.e. chs. 23, 24 and 25), each set begins with a statement relating to ‘All the Tathagatas’, and is followed by separate statements relating to the four families of the Tathagata, Vajra, Padma (Lotus) and Marti (Jewel) or Ratna (Gem), corresponding to the previous four parts of the STTS? Snellgrove adds that chapter 26 (ch. 26-a) entitled ‘Supreme Tantra of All the Kalpas' has a markedly different format, opening with a set of long detailed descriptions of rites or procedures according to each of the families in turn, and giving actual instructions, so becoming a treatise in its own right. Advice is given on the recitation of the divine names for varying long periods of time in front of images, suitable sites for the rites are listed and so on, all with the objective to attain supernatural powers, namely, assuming various bodily forms,


K OEAVS, TSD. Vol. 18, No. 869, p. 286-1-21-25.

2. David Snellgrove, Sarva-Tathdgata-Tattva-Sangraha, Introduction, p. 59.


flying in the sky, becoming invisible, and subduing beings to one's will. There follows a large number of short verses, some arranged in family sets, as in the previous chapters of part five, but many just single statements, each referred to as a tantra (thread). This chapter (ch. 26-b) ends with an epilogue.

According to Anandagarbha,4 the terms tantra, uttara-tantra and anuttaratantra have definite meanings within the context of the STTS. The collection of the words explaining the nature of Vairocana and Mahavairocana is the tantra. This tantra can be divided into three subordinate tantras, namely, mula-tantra, uttaratantra and anuttara-tantra. The first four parts of the STTS (from ch. 1 to ch. 22-b) are regarded as the mula-tantra, which explains the nature of all the Tathagatas common to all sentient beings through the nature of all the dharmas of both the mundane world and the supramundane world. The superior speech of the supreme attainment of this mula-tantra is the uttara-tantra (chs. 23, 24, and 25), which is not only the cause of attaining Buddhahood and Bodhisattvahood, but also the essence of the beginningless and endless great pledge (maha-samaya) to be received by the higher and the highest sadhakas who wish to gain the attainments (siddhis) of the supramundane world. The anuttara-tantra (ch. 26-a) which contains the detailed description of the ordinances (kalpas) of the STTS is explained for those who prefer recitations and simple rites rather than meditation as a means of attainment.

3. Ibid., p. 62.

4 Tattvalolca, TTP. Vol. 71, No. 3333, pp. 146-5-1-147-1-7.


Chapter 23. Upayasiddhitantra


Chapter 23 of the STTS deals with the means of gaining the supreme attainments by means of the uttara-tantra of the maha-mandalas described in the STTS, i.e. Vajradhatu Mahamandala (ch. 1) for the five Tathagatas and the Tathagata-family, Trilokavijaya Maha Mandala (ch. 6) for the Fq/ra-family, Sakalajagadvinaya Mahdmandala (ch. 15) for die Padma-idxm\y and Sarvarthasiddhi Maha Mandala (ch. 19) for the Mani- or Ratna-family. In order to understand this chapter, it is necessary to bear in mind Anandagarbha's commentary quoted by Mkhas-grub-ije5 that the four families, i.e. Tathagata-family, Fayra-family,./Wma-family and Mamfamily (or Ttatoa-family) correspond to Body, Mind, Speech and Action, as well as the four mudras, i.e. Maha-mudra, Samaya-mudra, Dharma-mudrd and Karmamudra. In addition, the four families also correspond to the four mental poisons, i.e. passion or lust (rdga), hatred (dvesa), delusion (moha) and avarice (mdtsarya). Thus, the purpose of the four families is to help the sddhaka in eliminating completely these four poisons arising in the mind.

In the doctrinal analysis of the following chapters (chs. 23, 24, and 25), the indicated letters, i.e. (a)~(e), refer to the five Tathagatas, Tathagata-family, Vajra family, Padma-family and Mam-family respectively. In this analysis, most quotations are summarised and translated from die STTS, and some are from the commentaries.

(1) The first section of chapter 23 of the STTS starting with the words, “Then the Maha Bodhi Sattva 6 Vajrapani enimciated this tantra of the extensive rite of the great essence of all the Tathagatas and ending with the words, “This is 9the extensive rite to gain the supreme attainments of Buddhas and Bodhisattvas of the mudras of all the families”,10 describes the means of realising the nature of Buddhas and Bodhisattvas by means of meditating on the four mudras which are explained in the maha-mandalas of the four families. This section refers to the means of generating, 5. F.D. Lessing and Alex Wayman (trs.), Introduction to the Buddhist Tantric Systems, pp. 221-225.


6. Tibetan and Chinese 2 both read: “Bodhisattva Mahasattva”.


7. Chinese 2 reads “all the Tathagatas” as “all the families”. Tibetan reads: “the family of all the Tathagatas”.

According to Anandagarbha, the difference between all the Tathagatas and the family of all the Tathagatas is that the former refers to the nature of the five Tathagatas (i.e. Vairocana, Aksobhya, Ratnasambhava, Amitabha and Amoghasiddhi), but the latter refers to the main thirty-two deities of the Vajradhatu Mahamandala excluding the five Tathagatas. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 81-2-2-4). However, Sakyamitra regards all the Tathagatas as the circle of the Buddhas and Bodhisattvas. (Kosalalamlcdra, TTP. Vol. 71, No. 3326, pp. 48-5- 8-49-1-1).

8. at ha vajrapani mahabodhisattva idam sarvatathagatamahdtattvavidhivistaratantram uddjahdra: S. p. 436-2-3, T. p. 266-3-3, C2. p. 423-1-15—16.

9. Tattvaloka inserts: “the tantra o f ’ . 10. saivalculamudranam buddhabodhisattvottamasiddhyavdptividhivistarah: S. p. 440-10-11, T. p. 266-5-7, C2. p. 423-3-20-21.


by means of executing the four mudras of the deities, the nature of (a) Buddha, (b) Vajradhara or Vajrasattva, (c) Vajrahumkara, (d) Avalokitesvara or Lokesvara, (e) Akasagarbha or Vajragarbha.

(2) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”11 and ending with the words, “This is the tantra of the extensive rite of l2the pledges (samayas) of all the families”,13 describes the means of perfecting the pledges of all the families, i.e. (a) the meditation on passion (raga-samapatti) and the purification of passion by passion, (b) non-aversion (aviraga) to desires (kdmas), (c) the manifestation of the great wrath (mahd-Itrodha), (d) perception of the purity of self-nature (sva~bhava), (e) generosity (dana). Anandagarbha comments that the meditation on the four mudras is accomplished while abiding in the pledge ([samaya).14

(3) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”15 and ending with the words, “This is the tantra of the extensive rite of perfecting the dharmas 16 of all the families”,17 describes the means of attaining the knowledge of the dharma-mudras of all the families. Thus, this section explains the essence of dharmas of the five Tathagatas and the four families, i.e. (a) the essence of the dharmas of the five Tathagatas is the Buddha, (b) the passion, which is the essence of the dharmas of the Tathagata-family and is the cause of generating the thought of enlightenment (bodhicitta), is pure, (c) the wrath which is the essence of the dharmas of the Vajra-family is pure, (d) as the lotus is not stained with water, the compassion which is the essence of the dharmas of the Padma-family is not defiled with passion, (e) the essence of the dharmas of the Mam-family is generosity.

(4) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”18 and ending with the words, “This is the tantra of the extensive rite of perfecting the actions (karmas) of all the families”,19 describes the means of perfecting the actions of all the families, i.e. (a) converting all sentient beings to Buddhahood and Bodhisattvahood, (b) performing the rite of the four sets of sixteen offerings, (which are explained in the Vajrakaya Karmamandala (ch. 4), i.e. four offering-mudras of generating the thought of great enlightenment, four offering-mudras of all the Buddhas, four offering-mudras of dharma, and four offering-mudras of samadhi), (c) harming evil beings, (d) converting the sentient


n . S. p. 441-1, T. p. 266-5-7, C2. p. 423-3-22.

12. Tibetan and Tattvaloka both insert: “perfecting (siddhi)’\

13. sarvalatla samayavidhivistaratantram: S. p. 442-4, T. p. 267-1-5, C2. p. 424-1-10.

14. Tattvaloka, TTP. Vol. 71, No. 3333, p. 144-3-8.

15. S. p. 442-5, T. p. 267-1-5-6, C2. p. 424-1-11.

16. Tattvaloka reads: “dharma-mandalas”.

17. sarvalculadharmasiddhividhivistaratantram\ S. p. 443-10, T. p. 267-2-3, C2. p. 424-1-28.

18. S. p. 444-1, T. p. 267-2-4, C2. p. 424-2-9.

19. sarvalculalcarmasiddhividhivistaratantram: S. p. 445-4, T. p. 267-3-1-2, C2. p. 424-2-25.


beings, as giving safety to those having fears, (e) consecrating the Buddhas and fulfilling all the wishes of the sentient beings.

(5) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”20 and ending with the words, “This is the tantra of attaining the knowledge of the nature of all the families”,21 describes the means of attaining the nature (dharmatd) of all the families, i.e. (a) meditating on the nature of the five Tathagatas in the Vajrasattva-samadhi, (b) visualising the bodily image (mahamudra) of the deity, (c) forming the hand gesture (samaya-mudrd) while

meditating on the mahamudra, (d) meditating on a five-pronged white vajra on the tongue,22 (e) meditating on a crossed vajra in the heart. Thus, this section refers to the means of accomplishing the evocation (Sanskrit, sadhana and Tibetan, bsgrubpa) common to the foxxx-mudras of all the families.

(6) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”23 and ending with the words, “This is die tantra of the extensive rite of (attaining) the knowledge of all the families”,25 describes the means of attaining the knowledge (jnana) of all the families, i.e. (a) abiding in the Vajrasattva-jama<#H by means of visualising a vajra (refening to Vajrasattva) inside the moon (referring to the lunar disc), (b) visualising the deity's bodily image {maha-mudrd) endowed with the splendour of the lunar disc, (c) generating a wrathful thought by means of performing the yoga of the wrathful deity, and beholding the mandala in space or elsewhere, (d) beholding a subtle {suksma)-vajra or a line of letters {altsarapahldi) in space or elsewhere, (e) perceiving the whole world (sarvaloka)26 and beholding die reflected image.

(7) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”27 and ending with die words, “They appear in front”,28 describes the means of gaining the attainment-knowledge (siddhi-jnana)29 of all the families, i.e. (a) meditating on the image of the Buddha as oneself by means of empowering (Vajrasattva,30 (b) beholding the yellowish-white mandala in space or elsewhere,


20 S. p. 445-5, T. p. 267-3-2, C2. p. 424-2-26.

21. sarvakuladharmatajhanasiddhitantram: S. p. 446-7, T. p. 267-3-8, C2. p. 424-3-17.

Tibetan and Tattvaloka both read: “This is the tantra of the extensive rite of the knowledge of the nature of all the families.”

22 Kosalalamkara, TTP. Vol. 71, No. 3326, p. 52-5-7.

23. S. p. 446-8, T. p. 267-3-8, C2. p. 424-3-18.

24. Tattvaloka reads: “attaining the knowledge”. Chinese 2 reads: “attaining the knowledge mudra”.

25. sarvakulajnanavidhivistaratantram\ S. p. 448-6, T. p. 267-4-8, C2. p. 425-1-12.

26. Anandagarbha interprets sarvaloka in this context as referring to Akasagarbha. {Tattvaloka, TTP. Vol. 72, No. 3333, p. 91-5-2-3).

27. S. p. 448-7, T. p. 267-4-8, C2. p. 425-1-13.

2^.prag darsayanti: S. p. 449-11, T. p. 267-5-6, C2. p. 425-2-2.

29. Sakyamitra explains that the attainment-knowledge means the knowledge of the sign of

attainment. {Kosalalamkara, TTP. Vol. 71, No. 3326, p. 53-5-5-6).

30 Kosalalamkara, TTP. Vol. 71, No. 3326, p. 54-1-1.


and visualising the image of the deity as oneself, (c) observing (the image of the deity) in the middle of the blue (lotus) (seen in the yellowish-white mandala), (d) beholding the lotus having the colour blue like the sky (seen in the yellowish-white mandala), (e) beholding in space or elsewhere an emanated ray of light endowed with the purity like the sky. Concerning this section, Anandagarbha comments that the meditation on the mahamudra and the others is accomplished at the time of gaining the sign.


(8) The next section starting with the words, “Then, the Mahabodhisattva Vajrapani”33 and ending with the words, “One experiences the five supernatural knowledges. The Lord Akasagarbha said thus”,34 describes the means of attaining the five supernatural knowledges (pahcabhijna, i.e. divine sight, divine hearing, mind reading, recollection of the previous existence and miraculous powers) of all the families, i.e. (a) abiding in the Vajrasattva-^amar/Zz/ and meditating on the forms of all the Tathagatas and Bodhisattvas in one's whole body, (b) binding the mahamudra of Vajrasattva (referring to performing the deity-yoga of Vajrasattva),35 (c) binding the supreme mudra of Trilokavijaya, (d) binding the supreme mudrd of Jagadvinaya, (e) binding the supreme mudrd of Sarvarthasiddhi.

(9) The next section starting with the words, “Then”36 and ending with the words, “The Lord Buddhapuja said thus”,37 describes the means of gaining the attainments by means of protecting the truth (satya) of all the families by swearing an oath (a) (to the five Tathagatas) with the words bearing the truth, (b) to the pledge from which generates the Tathagata-family, (c) to the Fo/ra-holders (referring to the Vajra-family), (d) to the Good Dharma which is supreme for the great Padma-family, (e) to the Buddha-offerings (referring to the Mam-family). (10) The next section starting with the words, “Then”38 and ending with the words, “One attains the self-existent offerings”,39 describes the means of attaining the pledge-essence (samaya-tattva) of all the families by means of binding the relevant samaya-mudras and reciting the following hrdayas, i.e. (a) “SAMA YAS TVAM” (You are the pledge), (b) “SURATAS TVAM' (You are the delight), (c) “HUM”, (d) “SARVA SUDDHA” (Everything is pure), (e) “O M \


31. Chinese 2 reads: “black”. Anandagarbha and Sakyamitra both interpret the blue {kydmci) in this context as referring to the blossom of the blue lotus (utpala). (Tattvaloka, TTP. Vol. 72, No. 3333, p. 92-3-5-6; Kosalalamkara, TTP. Vol. 71, No. 3326, p. 54-1-7).

32. Tattvaloka, TTP. Vol. 71, No. 3333, p. 144-5-2.

33. S. p. 450-1, T. p. 267-5-6, C2. p. 425-2-4.

34. paiicdbhijndm sa pasyatity aha bhagavan akasagarbhah: S. p. 452-11~12, T. p. 268-2-4, C2. p. 425-3-14-15.

35. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 54-3-6—7.

36. S. p. 453-1, T. p. 268-2-5, C2. p. 425-3-17.

37. ity aha bhagavan buddhapujah: S. p. 454-7, T. p. 268-3-4, C2. p. 426-1-9.

38. S. p. 454-9, T. p. 268-3-4, C2. p. 426-1-11.

39.pujds caiva svayambhuvdm iti: S. p. 455-13, T, p. 268-4-3, C2. p. 426-1-29.


(11) The next section starting with the words, “Then, Vajrapani”40 and ending with Hie words, “One can gain die attainment twice”,41 describes the means of gaining the attainments of all the families by means of binding the mudrds of the deities, i.e. (a) Buddha-mudra, (b) maha-mudra of Vajrasattva, (c) samaya-mudra of Trilokavijaya or Vajrahumkara, (d) dharma-mudra of Lokesvara or Avalokitesvara, (e) karma-mudrd of Vajragarbha or Akasagarbha, and also meditating on the images of the deities, i.e. (a) Tathagata, (b) Vajrasattva, (c) Trilokavijaya, (d) Lokesvara, (e) Vajragarbha. According to Anandagarbha, while joining in his deity -yoga, if the sddhaka invokes his deity into forms such as cloth, and then, meditates on and conjures up his deity, he will accomplish the four mudras

(12) The next section starting with the words, “Then”43 and ending with the words, “The Lord Akasagarbha said thus”,44 describes the means of gaining all the attainments (siddhis) of all die families by means of the evocation (sadhana), in other words, by means of meditating on the bodily images (maha-mudras) of the deities, i.e. visualising oneself as (a) Buddha (representing the bodily images of the five Tathagatas), (b) Vajrapani or Vajrasattva (representing the bodily images of the deities of the Tathagata-family) while thinking: “I am Desire” (kdmo ' ham), (c) Vajra-form (representing the bodily images of the deities of the Faym-family), (d) Padma-form (representing die bodily images of the deities of the Padma-family), (e) blazing Maniratna-form (representing the bodily images of the deities of the Maw-family).

(13) Hie next section starting with the words, “Then”45 and ending with the words, “One gains all the attainments”,46 describes the means of attaining the empowerment (adhisthdna), consecration (abhiseka), meditation (samadhi), and worship ipujd) of all the families. Thus, according to this section, the empowerment of all the families is accomplished by means of binding the mud rds, i.e. (a) mudrd of Vajradhatvisvari with a well-concentrated mind, (b) mudrd of Sattvavajrf with the Vajrasattva-^awdJ/zi, (c) mudrd of Vajrahumkara with a well-concentrated mind, (d) mudrd of Vajrapadma witii the LokQsv&m-samddhi, (e) mudrd of Mahavajramani with the Vajragarbha-samti^/zz, and then by means of empowering these mudras at the four sites of the body, i.e. heart, crown (urna), throat, and forehead (with the mudras of the four Paramitas).


The consecration of all the families is accomplished by means of (a) binding the mudrd of Ratnavajri and placing this mudrd on the forehead, (b) binding the mifdrd

40 S. p. 456-1, T. p. 268-4-3-4, C2. p. 426-2-2.

41. siddhis tu dviguna bhavet: S. p. 457-3, T. p. 268-4-8-5-1, C2. p. 426-2-18.

42. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 144-5-8-145-1-1.

43. S. p. 457-5, T. p. 268-5-1, C2. p. 426-2-20.

44. ity aha bhagavan alcdsagarbhah: S. p. 458-12, T. p. 268-5-8, C2. p. 426-3-12.

45. S. p. 459-1, T. p. 268-5-8, C2. p. 426-3-23.

46. sarvasiddhaya: S. p. 465-3, T. p. 269-4-6-7. Chinese 2 omits. (See, C2. p. 427-3-27).


of Vajradhatvlsvari and meditating on Vairocana on the crown; binding the mudrd of Sattvavajri and meditating on Aksobhya on the forehead; binding the mudrd of Ratnavajri and meditating on Ratnasambhava in the right ear; binding the mudrd of Dharmavajra and meditating on Amitabha at the back of the head; binding the mudrd of Karmavajri and meditating on Amoghasiddhi in the left ear,47 (c) binding Vajrabhisekamaia and placing it on the forehead, (d) binding Dharmavajra and placing it on the head, (e) binding Vajraratnankura and placing it on the forehead.48 The samadhi of all the families is accomplished by means of (a) binding the mudras of the five Tathagatas with a well-concentrated mind, (b) entering the samadhi which empowers being (sattva-adhisthana)49 with the vajra-dharma, (c)


conceiving that you are generated from the passion and I am the wrath,50 (d) expanding friendliness (maitri), (e) entering the sarvakasa-samadhi 51 with a wellconcentrated mind. In addition, all of these samriddhi-rites are performed together with reciting the relevant hr day as, mudras, mantras or vidyds.52 The worship of all the families is accomplished by means of (a) worshipping oneself as the five Tathagatas with the four External Offerings, (i.e. Vajradhupa, Vajrapuspa, Vajraloka and Vajragandha) with a well-concentrated mind, and then accomplishing the desire of attainment, (b) worshipping oneself as Vajrasattva with the four Secret Offerings (referring to the four Internal Offerings, i.e. Vajralasya, Vajramala, Vajraglta and Vajranrtya) while reciting the vajra-song (namely, “OM, Vajrasattva, Assembler! Vajraratna, Superior! Vajradharma, Song-holder! Vajrakarma, Supreme-performer!”), and then with the sixteen Offerings described in the Vajrakdrya Karmamandala (ch. 4), (c) worshipping oneself as Vajrahumkara with the hand gestures (karma-mudras) of the Secret Offerings


47. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 58-5-3-6; Tattvaloka, TTP. Vol. 72, No. 3333, p. 97-2-8-3-5. 48. According to Anandagarbha, Vajrabhisekamala refers to the terintiri-mudrd described in the Trilokavijaya Maha Mandala, Dharmavajra refers to the samaya-mudra of Dharmavajra described in the Sakalajagadvinaya Mahamandala, and Vajraratnankura refers to the samaya mudra of Ratnavajri described in the Sarvarthasiddhi Mahamandala, (Tattvaloka, TTP. Vol. 72, No. 3333, p. 97-3-5-5-2).

49. Sakyamitra interprets ‘being-empowerment (sattva-adhisthana)1 as referring to the method of empowering the thought, i.e. the yoga of Vajrasattva. (Kosalalamkara, TTP. Vol. 71, No. 3326, p. 59-2-2-7).

50. According to Sakyamitra, the passion (raga) symbolises the thought of enlightenment (bodhicitta), and the wrath generated from the thought of enlightenment indicates Vajrahumkara.

(Kosalalamkara, TTP. Vol. 71, No. 3326, p. 59-2-8-3-1).

51. Chinese 2 reads: “sarvalcama-samadhi”.

52. According to Anandagarbha, the hrdayas, mudras, mantras and vidyds refer to the magical formulae described in the maha-, dharani-, dharma- and karma-mandalas of each family. (Tattvaloka, TTP. Vol. 72, No. 3333, pp.' 97-5-3-98-4-7).

53. Anandagarbha regards the Secret Offerings in this rite as the four Internal Offerings of the Jfry'ra-family, i.e. Vajralasya, Vajramala, Vajragupta and Vajranatha (Tattvaloka, TTP. Vol. 72, No. 3333, p. 99-1-5), but Sakyamitra interprets them as referring to the sixteen Secret Offerings described in the Krodhaguhya Mudramandala (ch. 7). (Kosalalamkara, TTP. Vol. 71, No. 3326, p. 59-4-5).


which are formed with the two separated wrathful vajra-fists (krodha-vajra-musti) while reciting the vajra-song, (d) reciting a profound and great collection of Sutras and presenting it to all the deities of the Padma-family with one's mind and speech, (which means worshipping oneself as Avalokitesvara with the four Secret Offerings of the Padma-family, and also with the sixteen Offerings described in die Padmakula Karma Mandala (ch. 18-a)), (e) honouring all the deities of the Mani family with the canopy, banner, trophy and royal offerings (rdja-pujds), (which r means worshipping oneself as Akasagarbha with the four Secret Offerings of the Mani-family, and also with the sixteen Offerings described in the Manikula Karma Mandala (ch. 22-a)).54

(14) The next section starting with the words, “Then”55 and ending with the words, “The Lord Vajradhara said thus”,56 describes the means of attaining the siddhis through die knowledge of the supernatural knowledges (abhijhd-jhand) of all the families. Differing from the previous section (8) which describes the means of attaining the five supernatural knowledges of all the families, this section, though using the same methods, focuses on attaining the siddhis such as Buddhahood by means of generating and realising the five supernatural knowledges of all the


families through {\xq yogas of the deities of all the families. As a result, the sadhaka releases (a) Buddha, (b) Vajrasattva, (c) the supreme attainment (referring to the powers of Vajrahumkara), (d) the attainment of purity (referring to the powers of Lokesvara), (e) the best of all attainments (referring to the powers of Sarvarthasiddhi). In this section, the words “wrath (Icrodha)”, “passion (raga)” and “worship (puja) correspond to the Vajra-family, Padma-family and Mam-family respectively. Concerning this section, Anandagarbha comments that at the time of generating the supernatural knowledges in accordance with the previously explained methods, the sadhaka should accomplish the mandala and the others as long as he meditates on the four mudras of his deity all night.

(15) The next section starting with the words, “Then”58 and ending with the words, “While meditating upon this knowledge of the great enlightenment, one can gain the attainment ,59 describes the means of attaining the knowledge of great enlightenment (mahd-bodhi-jnana) of all the families, i.e. (a) abiding in the Vajrasattva-saraa^/zz and visualising oneself as the Tathagata, (b) generating and meditating on the bodily image (maha-mudrd) of Vajrasattva, (c) abiding in the Krodharaj^-samadhi (referring to generating the bodily image of Vajrahumkara)

54. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 98-4-8—99-3-8; Kosalalamkara, TTP. Vol. 71, No. 3326, p. 59-3-5~5-7.

55. S. p. 465-6, T. p. 269-4-7, C2. p. 427-3-29.

56. ity aha bhagavatn vajradharah: S. p. 466-12, T. p. 269-5-7, C2. p. 428-1-20.

57. Tattvaloka, TTP. Vol. 71, No. 3333, p. 145-1-6.

58. S. p. 467-1, T. p. 269-5-7, C2. p. 428-1-22.

59. mahdbodhir iyam jndnam bhavayam siddhim apnuyad: S. p. 468-7, T. p. 270-1-7, C2. p. 428-2-13.


and binding the supreme samaya (referring to forming the hand gesture of Trailokyavijaya), (d) abiding in the Lokesvara-sawu<7/u (referring to generating the bodily image of Lokesvara) and reciting the dharma-mudra, (e) abiding in the Vajragarbha-samadhi (referring to generating the bodily image of Vajragarbha) and performing the karma-mudrd.

(16) The next section starting with the words, “Then, the Maha Bodhisattva Vajrapani”61 and ending with the words, “The Lord Vajraraksa said thus”,62 describes the means of attaining gratification (anurdgana), subjugation (vaslkarana), destruction (mdrana) and protection (raksa) of all the families. According to this section, the gratification of all the families is accomplished by means of (a) visualising oneself as the Tathagata for the benefit of all sentient beings and for the perfect enlightenment of oneself, (b) being possessed of the objects in accordance with Vajrasattva (which means adorning oneself with the


ornaments of Vajrasattva) and visualising oneself as Vajrasattva, (c) enchanting evil beings with the wrath (of Vajrahumkara) for the observance of the Buddha's command and the purification of evil beings, (d) perceiving the passion, explaining (the natural purity of all) the dharmas with friendliness (maitri) and compassion (karund) (towards all sentient beings), and giving complete protection (to all sentient beings by means of explaining the perfection of wisdom), (e) presenting the consecration (referring to consecrating oneself with the mudrd of Vajraratna) and the collection of treasures (referring to adorning oneself as Akasagarbha with all the ornaments of the Mara-family).


The subjugation of all the families is accomplished by means of (a) meditating on the nature of passion {raga) endowed with purity {visuddha), which gives bliss (sukha), for the benefit of all sentient beings, (b) meditating on the nature of desire (Itdma) having the essence of bliss, while reciting: “SURATAS TVAM* (You are the delight), (c) killing evil beings through the deity-yogn of the Vajra-family for the purpose of observing the Buddha's command, giving purification and protection to sentient beings, and protecting the Buddha's teaching, (d) perceiving the purity of passion (of maturing and liberating the sentient beings) through (observing) the lotus whose petals being fully open, and giving mutual affection between oneself and others (referring to the deities of the Padma-family) for conversion (of the sentient beings), (e) placing the vajra-gem (vajra-ratna) on one's head (slrsci) daily and consecrating oneself in order to receive the consecration of all the Buddhas.


60. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 60-3-6-5-6.

61. S. p. 468-10, T. p. 270-1-8, C2. p. 428-2-15.

62. ity aha bhagavdm vajraralcsah: S. p. 474-12, T. p. 270-5-5-6, C2. p. 429-2-20.

63. Tattvaloka, TTP. Vol. 72, No. 3333, pp. 101-2-1-102-2-7.

64. According to Anandagarbha, the sddhaka receives the consecration of (Vajra-) Ratnankura in the realm of all the deities of the Mam-family through the mudra of Vajraratna. (Tattvaloka, TTP. Vol. 72, No. 3333, p. 103-1-2-4).


The destruction of all the families is accomplished by means of (a) killing (the Tathagatas) with body, speech and mind (referring to killing the Tathagatas with the mind while uniting in the yoga of Vajrahumkara ), (b) pricking and killing (oneself or one's deity) by the great vajra (or by breathing out the subtle-vay'ra from the nose while reciting the syllableHUM with the wrathful mind),66 (c) killing (one's deity) by reciting the syllableHUM* (while uniting in the yoga of Vajrahumkara), (d) calling out and killing one's deity through the enchanting-yogn (abhicara-yoga) at the time of breaking the promise by oneself, (e) killing one's deity at the time of being unable to bear the sight of the poverty of sentient beings.68 This rite of killing the deities of all die families symbolises the complete elimination of passion, hatred, delusion and avarice.

The protection of all the families is accomplished by means of (a) never abandoning all sentient beings (which means endeavour for the benefit of all sentient beings), worshipping oneself as the Buddha, and thinking of the Buddha constantly, (b) reciting the name of Vajrasattva, (c) respecting Vajrahumkara with devotion, (d) reciting the name of Lokesvara (one hundred and eight times), (e) presenting offerings to the Buddhas and sentient beings daily in one's power. (17) The final section starting with the words, “Then”70 and ending with the words, “This well-spoken siitra is the supreme Vajrayana, the secret of all the Tathagatas, and the compendium of the Mahayana”,71 constitutes the closing section of chapter 23, which includes a verse praising Vajrapani by all the Tathagatas.72


65. Tattvaloka, TTP. Vol. 72, No. 3333, p. 103-1-6-2-8.

66. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 62-1-3-4.

67. Tattvaloka, TTP. Vol. 72, No. 3333, p. 103-4-6-5-3.

68. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 62-2-7-3-1.

69. According to Sakyamitra, offerings in this rite refer to rice, flower or water. (.Kosalalamkara, TTP. Vol. 71, No. 3326, p. 62-5-1-4). Anandagarbha explains that in this rite the sadhalca presents all the deities and all sentient beings with food, fearlessness, Dharma and affection through the deity-yoga of the Mam-family six times every day. (Tattvaloka, TTP. Vol. 72,

No. 3333, p. 104-3-5-4-2).

70 S. p. 475-1, T. p. 270-5-6, C2. p. 429-2-22.

71. subhasitam idam sutram vajraydnam anuttaram sarvatathdgatam guhyam mahayanabhisaingraham

iti: S. p. 475-10-14, T. p. 271-1-1-3, C2. p. 429-3-1-4.

72. Cf. Tattvaloka, TTP. Vol. 71, No. 3333, pp. 144-3-3-145-2-8.


Chapter 24. Guhyatantra


Chapter 24 of the STTS concerns the method of gaining supreme attainments by means of the uttara-tantra of the dharani-mandalas as described in Vajraguhya Vajra Mandala (ch. 2) for the five Tathagatas and the Tathagata-family, Krodhaguhya Mudra mandala (ch. 7) for the Fh/ra-family, Padmaguhya Mudrdmandala (ch. 16) for the Padma-family and Ratnaguhya Mudra Mandala (ch. 20) for the Mani- or Ratna-f&mily. In order to understand this chapter, it is necessary to bear in mind that all the deities generated from the dharani-mandalas have female forms, and the term secret {guhya) used in this chapter refers to the female deities as described in the dharani-mandalas.

(1) The first section of chapter 24 of the STTS starting with the words, “Then, the Mahabodhisattva Vajrapani”74 and ending with the words, “As soon as one enters, one will cause to dance”,75 describes the means of attaining the nature of the four mudras of all the families explained in the dharani-mandalas. Firstly, the nature of the maha-mudras of all the families explained in the dharani-mandalas is accomplished by means of (a) entering the Buddhabodhi-samadhi with a well concentrated mind and meditating on the essence of all the Tathagatas, (b) binding (or meditating on) the (maha-) mudrd of Sattvavajri in the heart while thinking:


“You are my beloved consort.”,76 and accomplishing all the mudras (referring to the perfect union with the female deity) while uttering: “DRDHl BHA PA” (Become steadfast!), or otherwise “GUHYA BHARYAM’ (Secret consort!), (c) killing by means of Vajrahumkara generated from the wrath through binding the mudrd of Vajrahumkara, (d) binding the samadhi-mudra (referring to visualising the bodily image of the female deity explained in the dharani-mandala of the Padma-family) and beholding the female deity with the vo/ra-vision77 (vajra-drsti), (e) practising the samapatti of uniting the two organs (of the deity and his consort) while uttering “Best Pleasure!”, and offering the organ to all the Tathagatas. Secondly, die nature of the samaya-mudras of all the families explained in the dharani-mandalas is accomplished by means of (a) reciting: “SAMAYAS TVAM’ (at the time of forming the samaya-mudras) and gratifying all the female deities (referring to the five Tathagatas having female images, i.e. Vajradhatvlsvari and the others), (b) gratifying all the female deities without despising the passion (symbolising the thought of enlightenment) and keeping this secret pledge of 73. Tattvaloka and Chinese 2 both read: “Bodhisattva Mahasattva”.


74 S. p. 476-2, T. p. 271-1-3-4, C2. p. 429-3-14.

75. Icsandd dvisya nartati: S. p. 482-11, T. p. 271-5-2, C2. p. 430-3-18.

76. According to Anandagarbha, “consort” in this context symbolises the nature of gathering the thought of enlightenment (bodhi-citta), and “my consort” means generating this bodhi-citta

in oneself. (Tattvdloka, TTP. Vol. 72, No. 3333, p. 105-2-7—8).

77. Chinese 2 reads: “vo/ra-fist (vajra-musti).


Vajradhara (which means making firm the thought of enlightenment),78 (c) destroying the whole world (referring to the female deities) with the body, speech and mind (vajras) of Vajrahumkara or the deity for purification, (d) keeping the pledge endowed with purity (i.e. performing the yoga of the female deity explained in the dharanlrmandala of the Padma-family) because the passion endowed with purity is pure but non-initiates' yogas are impure, (e) binding Vajramani in the samadhi of Vajragarbha and taking away the treasures of evil beings.

Thirdly, the nature of the dharma-mudras of all the families explained in the dharani-mandalas is accomplished by means of (a) conceiving of all the dharmas as pure by nature with a well-concentrated mind, and performing all rituals, (b) (performing the yoga of the female deity while perceiving) that gratifying the female deity is pure, (c) killing all evil beings (by breathing out the subtle-va/ra) from the nose while reciting the syllable 'HUM \ and abiding in the samadhi of the subtle vajra (suksma-vajra), (d) gratifying all the female (deities) by meditating on the subtlQ-vajra, and abiding in the samadhi of Vajradharma, (e) fulfilling all the wishes by practising the samapatti of uniting the two organs (between the deity and his consort).

Finally, the nature of the karma-mudras of all the families explained in the dharani-mandalas is accomplished by means of entering and possessing the body of the sadhaka's chosen female deity through the female sexual organ by the male deity generated from the samadhis, i.e. (a) abiding in Vajrasattva-sama^/zz, (b) abiding in Vajrasattva -samadhi, (c) binding the mudrd of Vajrahmnkara (i.e. performing the wrathful deity -yoga), (d) binding the karma-mudrd of the Padma family and abiding in Padma-samadhi, (e) binding Karmavajramani (i.e. forming a gem with both middle fingers and stretching out the other fingers)80 and abiding in Vajmmtna-samadhi. According to Anandagarbha, meditation upon the four mudras explained in the dharanl-mandala of all the families is achieved in the uttara-tantra (by the sadhaka) through generating deity-yoga by means of the four mudras explained in the mahd-mandala of his family, and then by binding the maha-mudrd and the others explained in the dharanl-mandala.

(2) The next section starting with the words, Then, the Mahabodhisattva Vajrapani and ending with the words, “The Lord Vajrasattva said thus”,

7S. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 64-1-3-7.

79. According to Anandagarbha, Vajramani in this context refers to the samaya-mudra of Mahavajramani explained in the dharani-mandala o f the Mam-family, but Sakyamitra interprets Vajramani as referring to the samaya-mudra o f Vajraratnankura. (Tattvaloka, TTP.

Vol. 72, No. 3333,'p. 107-1-3-4; Kosalalamkara, TTP. Vol. 71, No. 3326, p. 64-3-6).

80. Kosalalamkara, TTP. Vol. 71, No. 3326, p. 65-3-2-3.

81. Tattvaloka, TTP. Vol. 71, No. 3333, p. 145-2-8-3-2.

82. Tattvaloka and Chinese 2 both read: “Bodhisattva Mahasattva”.

83. S. p. 483-1, T. p. 271-5-2-3, C2. p. 430-3-21.

84. ity aha bhagavam vajrasattvah: S. p. 485-10, T. p. 272-1-7, C2. p. 431-2-3.


describes the secret attainment of the purity of the mandalas of all the families explained in the dharani-mandalas, i.e. by means of entering the mandalas constructed in conformity with (a) Dharma-wheel {dharma-calcra), where the Buddha is encircled by (the symbols of his four) Symbol-consorts (mudra bharya), 85 (b) {dharani-mandala of) Vajradhatu, (c) {dharani-mandala of)

Trilokavijaya, (d) {dhdrani-mandala of) Sakalajagadvinaya, (e) {dharani-mandala of) Sarvarthasiddhi, and then, uttering: (a) “These consorts are yours, O Lord. Grant me all!”,86 (b) “Beloved, you are the Pledge, HOHl Vajrasattva, grant me success now!”,87 (c) “You have your origin in passion!”,88 (d) “O Great Lotus of the Law of Passion! Give me rapid success, O Lord!”,89 (e) “O Supreme Perfection of the Expectations of Passion amongst all proposed perfections! O Lord, Great Being, grant success, grant success in all perfections!”90.91 In the light of the commentary by Anandagarbha,92 the centres of the mandalas are occupied by the female images of the representative deities of the families, i.e. Vairocana, Vajrasattva, Vajrahumkara, Jagadvinaya and Sarvarthasiddhi while the other places of the mandalas contain the symbols described in the dharani-mandalas, though these representative deities occupying the centres can be replaced by the sddhaka!s chosen deities.

(3) The next section starting with the words, “Then”93 and ending with the words, “The Lord Akasagarbha said thus”,94 describes the secret attainment of all the mudras of all the families explained in the dadrani-mandalas by means of the exhortation of truth {tattva-codana), i.e. by means of visualising and exhor




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