Early Tibetan Mandalas

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Mandala of Bhutadamara
Central Tibet, 14th century
63.5 x 54 cm

Bhutadamara Mandal

The four-armed Bhutadamara, “Turmoil of the Spirits,” appears at the center of this mandala. Clad in a tiger skin, the three-eyed god holds the mighty pose known as alidha, with his left knee bent, the right held taut. He holds the thunderbolt sceptre in his upper right hand, the noose in his left; his central hands offer the gesture of trailokyavijaya, “conquest of the three worlds.” These three worlds are generally described as the sky, earth, and ether; they are also referred to as the three realms (dhatu) of kama (“desire”), rupa (“form”) and arupa (“formlessness”).

Bhutadamara’s mandala consists of four circles of Hindu gods and goddesses, as detailed in the twenty-third chapter of the NSP. In the first circle are Mahesvara (E), Visnu (S), Brahma (W), Karttikeya (N), Ganapati (NE), Aditya (SE), Rahu (SW) and Nandin (NW). The second circle includes: Sri (E), Tiolottama (S), Sasi (W), Uma (N), Ratnasri (SE), Sarasvati (SW), Surasundari (NW) and Vibhuti (NE). The third circle includes: Sakra (E), Yama (S), Varuna (W), Kubera (N), Agni (SE), Nairrti (SW), Vata (NW) and Candra (NE). In the outer circle are: Simhadhvajadharini (E), Vibhuti (S), Padmavati (W), Suraharini (N), Varaharini (NE), Ratnesvari (SE), Bhusana (SW) and Jagatpalini (NW).

Hevajra Mandala
Central Tibet, 14th century
54 x 43.5 cm

Hevajra Mandal

Hevajra, “the [syllable] `He’ which is luminous or diamond-like,” embraces his consort Nairatma, “she who is without ego.” Hevajra appears in his eight-faced form, three on either side of his primary face, the eighth surmounting the others and enveloped by flames. The Lord possesses four legs: one pair holds a powerful stance, alidha, the other assumes a gesture of dance, ardhaparyanka. His sixteen arms, poised with a dancer’s grace, form a halo around his torso. This particular manifestation of Hevaj ra is known as Hevajra Kapaladhara, “Hevajra who holds the kapala (skullcup).” Indeed, each hand holds a skullcup, those on his right containing animals: an elephant, a horse, a donkey, an ox, a camel, a man, a sarabha (a lion or a mythological animal), and a cat. His left hands cradle deities in skullcups: Prthvi, the earth; Varuna, water; Vayu, air; Tejas, fire (or passion); Chandra, the moon; Aditya or Arka, the sun; Yama or Antaka, death; Dhanada, wealth. Garlands of skulls and severed heads adorn the otherwise naked Hevajra as he tramples on the four Maras, hindrances to Enlightenment.

Eight yoginis dance on open lotus petals, marking the first circle of Hevajra’s mandala. This traditional group of eight includes: Gauri (E), Cauri (S), Vetali (W), Ghasmari (N), Pukkasi (NE), Sabari (SE), Candali (SW), Dombi (NW). Still within the mand ala-palace are eight initiation vases. In the four corners beyond the eight cremation grounds are images of Hevajra and Nairatma. Other deities appear in the painting’s top and bottom registers, and in the lower left corner, a monk sits before ritual im plements.

The painting follows an iconographic description in the eighth chapter of the NSP. For identification of all deities in this mandala, see Mallmann, Introduction a l’iconographie du tantrisme bouddhique, pp. 48-49, 184-86.

Mandala of Vajrahumkara
Central Tibet, 14th century
54.8 x 44.8 cm

Vajrhumkara mandal

This mandala represents the sacred assembly of Vajrahumkara, a personification of the diamond-like hum mantra. The central deity is also known as Trailokyavijaya (“Conqueror of the Three Worlds”). The three worlds mastered by the deity are sometimes des cribed as the sky, earth and ether; they are also referred to as the three realms (dhatu) of kama (“desire”), rupa (“form”) and arupa (“formlessness”). At the center of the mandala is Trailokyavijaya in his three faced, six-armed form. He embraces his c onsort while holding the bell and thunderbolt sceptre; other hands hold aloft the hook, noose, ceremonial sceptre and skullcup.

Surrounding Trailokyavijaya are ten wrathful deities, four-armed, three-faced and embracing their consorts: Yamantaka (E), Prajnantaka (N), Padmantaka (W), Amrtakundalin (S), Takkiraja (SE), Niladanda (SW), Mahabala (NW), Acala (NE), Usnisacakravartin (ze nith, here, in the western gate) and Sumbharaja (nadir, here, in the eastern gate).1 The eight cremation grounds (smasana) are given special prominence.

This mandala follows the iconography for the Vajrahumkara mandala described in the eleventh chapter of the NSP. The NSP provides alternate names for the ten wrathful attendants. See Mallmann, Introduction a l’iconographie du tantrisme bouddhique, pp. 50 and 381-82.

Cakrasamvara Mandala
Central Tibet, ca. 15th century
64.3 x 55.3 cm

Cakrasamvara mandal

This painting depicts the mandala of Samvara, often described as “the wheel of great bliss.” At its center, the god Samvara embraces his consort, Vajravarahi (“the Adamantine Sow”). The god appears in his four-faced, twelve-armed form. Two arms stretch an elephant skin behind him, others hold the hand drum, hatchet, chopper, trident, ceremonial staff, skullcup, noose, and head of the Hindu god Brahma; he grasps the bell and vajra as he embraces vajravarahi. His left leg is held taut, while the right k nee is bent in a powerful stance (alidha) under which Bhairava and Kalaratri are trampled. Samvara and Vajravarahi are enveloped by flames.

The couple appear at the center of five concentric circles of deities. In the first circle, on an eight-petaled lotus, are: Dakini (E), Lama (N), Khandaroha (W), and Rupini (S). Marking the intermediate points of the compass are skullcups atop vases, sa id to be filled with: the thought of enlightenment (bodhicitta, SE), blood (SW), the five ambrosias (pancamrta, NW) and the five illuminations (pancapradipa, NE). The second circle, described as the “circle of thought” (cittacakra) includes eight deities marking the main points of the compass and the intermediary points. Further groups of eight deities mark the third, fourth and fifth circles, said to be the circles of speech (vakcakra), body (kayacakra), and intuition (samayacakra), respectively. Ins criptions on the reverse include mantras invoking Samvara and a Tibetan transliteration of the Buddhist creed.

Mandala of an Esoteric Form of Vajrapani
Central Tibet, 15th century
69.5 x 53.5 cm

Mandala of an Esoteric Form of Vajrapani

Vajrapani, “he who holds the thunderbolt sceptre,” appears at the center of this mandala in one of his many esoteric forms. The three-faced, four-armed god holds his characteristic thunderbolt sceptre and the bell, while his other hands grasp the body o f a serpent, held firm between his teeth and trampled beneath his feet. His red hair is gathered like a helmet of molded flames, further adorned with a serpent. A delicate serpent winds about his neck.

The mandala includes in its first circle gods who resemble the central figure, although they differ in color: white (E), yellow (S), red (W) and green (N). In the next circle, at the intermediate points of the compass, are offering goddesses, perhaps the standard four: Puspa (flowers; NE), Dhupa (incense; SE), Dipa (light, SW), and Gandha (perfume, NW). There are four guardians of the temple gates.

Outside the mandala proper are esoteric deities in yab-yum (“father-mother”), the posture of sexual embrace; Tibetan teachers (once identified by inscription, now abraded); and the seven jewels of the cakravartin (“universal monarch”): horse, wish-fulfill ing gem (here, probably the triratna or “three jewels of Buddhism” representing the Buddha, the Buddhist doctrine and the monastic community), the elephant, the wheel of the Buddhist law, a general (figure with shield), queen, and a minister who holds tre asure in his hands (here, the god of wealth, Jambhala). In the top register is a lineage of mortal and celestial teachers associated with Vajrapani’s teachings. The bottom register includes a monk seated before offerings, deities, and protectors of the faith.

Nairatma Mandala
Central Tibet, Second half, 16th century
51.5 x 44.6 cm

Nairatma MandalaHevajra Mandala

Nairatma (“She who is without ego”) appears at the center of this mandala in her two-armed form, holding her characteristic attributes: skullcup, chopper, and ceremonial staff. She dances on a corpse in the center of an eight-petaled lotus bearing a circle of deities: Vajra (E), Gauri (S), Variyogini (W), Vajradakini (N). Each figures is iconographically identical to Nairatma. The intermediate points of the compass bear skullcups atop vases, said to contain perfumes and nectars. The second circle of deities are dakinis, also identical to Nairatma in their iconography: Gauri (E), Cauri (S), Vetali (W), Ghasmari (N), Pukkasi (NE), Sabari (SE), Candala (SW), Dombini (NW), Khecari (zenith; here, in the western gate), Bhucari (nadir; here, in the eastern gate).

An inscription at the bottom of the painting states: “The tantric practitioner (vidyadhara) Lhachok Senge (lha-mchog seng-ge) had [this thangka] made in order to make firm the life of the glorious lama, Konchok Phelwa (dkon-mchog ‘phel-ba). Lhachok Seng e is known to have been a contemporary of the tenth abbot of Ngor monastery. Konchok Lhundrup (dkon-mchog lhun-grub, 1497-1557). As the painting’s donor, Lhachok Senge may be represented in the lower right corner of the bottom register, often reserved f or a painting’s donor or sacrificiant.

Abhisambodhi Vairocana Mandala
Central Tibet, 14th century
64 x 53 cm

Abhisambodhi Vairocana mandal

An inscription on the reverse identifies this painting as the mandala of Abhisambodhi Vairocana (“Mandala of the Awakening of Vairocana”), related to a Sanskrit text entitled, Mahavairocana-bhisambodhi Tantra (rnam-par snang-mdzad mngon-par byang-chub-pa’ i rgyud, “Tantra of the Awakening of Great Vairocana”). Vairocana appears at the center of the mandala in his two-armed, one-faced form, a rich golden color. His highly complex assembly includes three palace chambers filled with hundreds of attendants.

The teachings associated with this form of Vairocana were transmitted by a lineage of Buddhist masters represented in the top and bottom registers and enclosed by scrolling vines just outside the mandala proper. Each figure is identified by inscription o n the reverse. The lineage begins with the celestial bodhisattva Vajrapani and includes prominent Indian and Tibetan masters, including Buddhaguhya (sangs-rgyas gsang-ba), who wrote a commentary on the Mahavairocanabhisambodhi Tantra, translated during t he early introduction of Buddhism to Tibet (7th to mid-9th centuries). Among the last historical figures identified in the lineage is Lama Sangyebum (bla-ma sangs-rgyas-’bum), who, in 1214, became abbot of Tshal Gungthan (mtshal gung-thang) monastery in south-central Tibet.

Buddhakapala Mandala
Central Tibet, 14th century
63.5 x 54.4 cm

Buddhakapala mandal

The deity Buddhakapala, “Skullcup of the Buddha,” presides over this mandala of twenty-five deities.1 The wrathful god embraces his consort Citrasena, while his four other hands hold the skullcup, chopper, ceremonial staff and hand drum. He assumes the dancer’s pose (ardhaparyanka) upon a corpse which is itself supported by a lotus borne by the sun.

Attendant deities in the mandala’s first circle appear on the petals of an open lotus: Sumalini (E), Kapalini (N), Bhima (W) and Durjaya (S). Skullcups supported by lotuses mark the four intermediate points of the compass. The second circle of deities includes: Subhamekhala (E), Rupini (N), Vijaya (W), Kamini (S), Kapalini (NE), Mahadadhi (SE), Karini (SW) and Marani (NW). The third circle includes: Tarini (E), Bhimadarsana (N), Sudarsana (W), Ajaya (S), Subha (NE), Astaraki (SE), Kalaratri (SW) and M ahayasa (NW). Sundari (E), Vajrasundari (N), Subhaga (W) and Priyadarsana (S) guard the mandala’s four gates.

This mandala was once part of a set of mandalas illustrating Annuttarayoga teachings. These teachings were transmitted by an historical lineage illustrated in the painting’s top and bottom registers, and including the four historical figures encircled by scrolling vines just outside the mandala circle. The lineage begins with the celestial Buddha Vajradhara and includes Indian masters such as Nagarjuna (act. second century A.D.) and prominent Tibetan masters of the eleventh and twelfth centuries, such as the famed translator Marpa (mar-pa, 1012-96).

1 Buddhakapala and his consort are counted as a single deity.

Mandala of an Esoteric Form of Manjusri
Central Tibet, 14th century
65.5 x 53.5 cm

Mandala of an Esoteric Form of Manjusri

At the center of this mandala is an esoteric deity whose precise identity is uncertain. The three-headed, six-armed god embraces his consort and holds a lotus and book, wheel (?), sword and an unidentified object. The sword and book, implements characte ristic of Manjusri, the Mahayana bodhisattva of wisdom, suggest this might be an esoteric form of Manjusri. However, the iconography of this god and that of his entourage do not precisely correspond to known iconographic descriptions for Manjusri.

Without an accompanying iconographic description, the identities of the other figures in the mandala are unclear. However, the outer assembly includes a standard group of protective deities: Yamantaka (E), Prajnantaka (S), Padmantaka (W), Vighnantaka (N) , Takkiraja (SE), Niladanda (SW), Mahabala (NW), Acala (NE), Usnisacakravartin (zenith; here, in the western gate), Sumbharaja (nadir; here, in the eastern gate).

None of the historical figures are identified by inscription; their precise identities are therefore speculative. Indian mahasiddhas and Tibetan monks are represented, together with other deities associated with the teachings of this esoteric form of Man jusri’s mandala.

Vajradhatu Mandala
Central Tibet, ca. 14th century
68.5 x 60 cm

Vajradhatu Mandala

Vairocana in his four-faced, eight-armed form presides over this mandala of Vajradhatu, the “Diamond Realm.” Nine lotuses arranged in three registers support deities within the main chamber (kutagara). In the center lotus is Sarvavid (“The Omniscient”) Vairocana, surrounded by Sattvavajri (E), Ratnavajri (S), Dharmavajri (W), and Karmavajri (N). The lotuses which mark the cardinal points of the compass support four celestial Buddhas (tathagata), each attended by four of the sixteen “vajra bodhisattvas. ” At the four intermediate points of the compass, each within their own lotus, are the offering goddesses: Lasya (SE; amorous dance), Mala (SW; rosary), Gita (NW; song) and Nrtya (NE; dance). Other bodhisattvas appear in rows just beyond the walls of t he main mandala palace, making another group of sixteen bodhisattvas. Four further goddesses of offering mark the intermediate points of this circle, and at the palace gates are four female guardians.An inscription at the bottom of the painting identifies the mandala and specifies the four circles of deities outside the mandala proper: “In the mandala of the Victorious Vajradhatu, the eight great [Hindu] gods, the nine great terrifying ones, the four great kings, and the ten protectors of the directions are seated in the four corners. In the realms of lower beings, the planets and constellations and the eight great water spirits, the Nagas, are well seated. They are givers of the treasures of attain ment.”

The eight great Hindu gods are depicted in the lotus in the upper left corner of the painting; the nine terrifying ones (Bhairava in the center and eight subsidiary manifestations), in the upper right; the four great kings (Dhrtarastra, E; Virudhaka, S; V irupaksa, W; and Vaisravana, N) are in the lower left corner; and the ten protectors of the realm, in the lower right. The planets and constellations are seen in the top register, beginning at the left. Eight naga couples surround the four assemblies de scribed in the inscription.

Nairatma Mandala
Central Tibet, 13th century
64.8 x 53.4 cm

Nairatma Mandala

Nairatma (“She who is without ego”) appears at the center of this mandala in her four-armed form.1 She holds her characteristic attributes: skullcup, chopper, vajra, and ceremonial staff. Robed in a tiger skin, she dances on a corpse. Two concentric ci rcles of yoginis enclose Nairatma. In the first circle are Vajra (E), Gauri (S), Variyogini (W), and Vajradakini (N). In the second circle are Gauri (E), Cauri (S), Vetali (W), Ghasmari (N), Pukkasi (NE), Sabari (SE), Candali (SW), and Dombini (NW), wit h Khecari marking the zenith, and Bhucari, the nadir of the mandala.

Four musicians appear at the intermediate points, just inside the mandala palace: Vamsa (NE), Vina (SE), Mukunda (SW), Muraja (NW). The door guardians are bi-colored and bear the heads of animals: horse-headed Hayasya (E), pig-head Sukarasya (S), dog-hea ded Svanasya (W), lion-headed Simhasya (N).

Outside the mandala proper are circles containing wrathful deities, one in each of the four corners, surrounded by minor deities. Other deities are arranged in the top and bottom registers, all identified by inscriptions, although some inscriptions are n ow abraded. The monk in the right corner of the lower register is identified by inscription as the donor (sbyin-bdag) Bodhisri. An historical figure by this name is described in early literary sources as one of the main disciples of tandala: Nairatma’s m andala of twenty-three deities (bdag-med-ma lha nyi-shu-rtsa-gsum-kyi dkyil-’khor).

Raktayamari Mandala
Central Tibet, Second half, 16th century
31.4 x 27.6 cm

Raktayamari mandal

Raktayamari, the red Yamari (“enemy of Yama”), embraces his consort at the center of this mandala.1 He holds a skullcup in one hand and a staff surmounted by a yellow head “still wet with blood” in the other; his consort holds aloft the chopper. As is fitting his role as an aspect of the deity Yamantaka (“Conqueror of Yama”), Raktayamari tramples on the Hindu god of death, Yama, who lies supine on a red buffalo.

An eight-petaled lotus holds his sacred assembly; Mohayamari and consort (E), Matsaryayamari and consort (S), Ragayamari and consort (W), Irsyayamari and consort (N). Four skullcups atop vases, holding perfume and nectar, mark the intermediate points of the compass.

An inscription in gold at the bottom of the painting states: “Salutations to Yamari! I beseech you to accept me, the tantric practitioner (vidyadhara) Lhachok Senge (lha-mchog seng-ge), as your follower. Lhachok Senge was a member of the Sakya monaste ry of Ngor (founded 1429), during or slightly later than the time of the tenth abbot of Ngor, Konchok Lundrup (dkon-mchog lhun-grub, 1497-1557).

Among the historical figures surrounding the Mandala proper is the Indian yogic adept Virupa (act. early ninth century), who transmitted teachings associated with Raktayamari which eventually became popular in Tibet. Indeed, this particular form of Raktay amari’s mandala may be traced to Virupa’s teachings.

1 An inscription on the painting reverse identifies the central figure as Raktayamari: shed [read: gshed]-dmar.

Sastradhara Hevajra
Central Tibet, 14th century
62.4 x 53.5 cm

Sastradhara Hevajra

This mandala features Hevajra in his form as Sastradhara, “he who wields weapons.” The eight-faced, sixteen-armed, four-footed god embraces his consort, Nairatma (“she who is without ego”). All eight faces are wrathful, three on both sides of the centr al face, the eighth surmounting it, enveloped by flames. One pair of legs assumes a powerful stance in which the right leg is held taut, the left knee bent (alidha); the other pair assumes a dancer’s pose (ardhaparyanka). Crushed underneath are the four Maras, obstacles to enlightenment. Hevajra holds sixteen weapons, each indicating his multifaceted powers: the hook, trident, staff, cup, wheel, arrow, sword, vajra, lasso, gesture of argumentation (tarjani mudra), jewel, skullcup, ceremonial staff, bow, lotus, and bell.The first circle of deities includes: Gauri (E), Cauri (S), Vetali (W), Ghasmari (N), Pukkasi (NE), Sabari (SE), Candali (SW), Dombini (NW). The second circle includes four deities at the intermediate points of the compass: Vamsa (NE), Vina (SE), Mukund a (SW), Muraja (NW). The door guardians bear the heads of animals: Hayasya (horse-headed, E), Sukarasya (pig-headed, S), Svanasya (dog-headed, W), Simhasya (lion-headed, N).

A lineage of historical teachers and deities associated with the teachings of this mandala appears in the top and bottom registers. They include Indian masters and Tibetans such as Ra Dorje Drakpa (rva rdo-rje grags-pa, b. 1016), whose translations of Indian Buddhist literature were praised in his own time as exemplary.

Vajravarahi Abhibhava Mandala
Central Tibet, 14th century
62 x 52 cm

Vajravarahi Abhibhava Mandala

An inscription in the lower register identifies this painting’s iconography as phag-mo mngon-’byung dkyil-’khor (vajravarahi abhibhava mandala), “Mandala of the Awakening of Vajravarahi.” At the center of the mandala is Vajravarahi in her four-faced, twelve-armed form. Two arms stretch an elephant skin behind her, others hold the hook, chopper, trident, noose, and head of the Hindu god Brahma. There are many mandalas associated with Vajravarahi; this particular mandala appears to relate to the Vajrava rahi Abhibhava Tantra.

The goddess’s first assembly is usually described as the Devicakra, or wheel of goddesses, likened to the center of the world. Thus, Vajravarahi is surrounded by Dakini (E), Lama (N), Khandaroha (W) and Rupini (S). At the intermediate points are vases b earing skullcups, containing “the thought of enlightenment” (bodhicitta, SE), blood (SW), “the five ambrosias” (pancamrta, NW), and the ìfive illuminations” (pancapradipa, NE). The precise identities of the other circles are unclear.

The painting’s historical figures, depicted in the top and bottom registers and connected by scrolling vines outside the mandala proper, are associated with the transmission of Vajravarahi teachings. The latest master represented is Urgyanpa (u-rgyan-pa, d. 1309), famous for his travels to eastern India and Kashmir in order to secure Buddhist teachings.