CONTRIBUTIONS TO THE STUDY OF MANDALA AND MUDRA Analysis of Two Tibetan Manuscripts in the Royal Library in Copenhagen ny ERIK HAARH While cataloguing the prints and manuscripts in the Tibetan collection of the Royal Library in Copenhagen my attention was drawn to two minor manuscripts, which already by a prelim- inary inspection indicated that they might deserye some more particular interest, and a further examination proved that a more detailed analysis of their ritual contents might in some respects contribute to a more extended knowledge of some specific features of Buddhist sacred service. ‘The manuscripts, now catalogued as Miner nr. 76 and Minter nr, 79, were bought in 1924, in some shop near the Drum-tower in Peking, by the late Mr, C, 8. Miinter of the Great Northern ‘Telegraph Company, and in the following they are quoted as A and B respectively. Manuscript A contains a rice-mapdata (lig. 1) in which the 87 elements are indicated by their names auranged in their ritual order within the mandala. ‘This manner of representing a mandala is in itself rather unique, but the principal value of this representation of the rice-mandala is to be ascribed to the fact that it supplies us with a conclusive supplement to the descriptive representations of this mandala, previously given by Waddell, Lessing, and Schubert (cf. below). Manuscript B contains 123 drawings of mudras, each of these being accompanied by a mantra, and the whole material con- sists of three sidhanas with their corresponding series of mudris, thus permitting us to reconstruct in detail the performance of three ceremonies of mandala belonging to the Durgati-Parigodhana58 BRUC HAARE type. While a large number of siidhanas are known, the special knowledge of lithurgic mudras is fairly limited, and complete series of mudra-pietures with corresponding sadhanas, as given in the present manuscript, seem unknown in literature dealing with Buddhist ceremonies. A further importance, however, is to be ascribed to the series of mudras and mantras of the manuseript, because they refer to those 37 specific clements of meditative practice, to which Asaiiga seems to allude in Mahayiana-Siitrailamkara XI, 11—12 and XX —XXI. 16', and which actually constitute, not only the cycle of Aeities of the Vajradhatu- or Kongd-kai-mandala, but also, and most particularly, the cycle of Kun-rig rNam-par-snari-mdsad or Saryavid-Vairocana which, as revealed by the recent explora- tions of Tuecé, appears to play an extremely important role in the Yogatantrism of Mahayana-Buddhism, The Ritual Components of Mandata-Ceremonies, Pour ritual components are characteristic of the performance of mandala-ceremonies, the mandala, the mantra, the pija, and the mudra, ‘The mandala represents the frame, material or imagined, within which the gods concerned are placed or represented. The manizas ave the verbal constituents of the ceremony, the sentences through which the officiant addresses the gods, The pij@s are offerings presented to the gods, either prayers or confessions of sin, or sacrifices of flowers, incense, light, perfume, or aliments, ‘The mudras ave the ritual hand-postures accompanying the mantras or the pijas, establishing the actual contact with the gods. The mandala and the mantra seem obligatory, while a presentation of pajds seems to depend on the ceremony in ques: tion, and the mudrfs are omitted by certain sects. Mandala. —In classic Sanskrit mandala signifies anything eyelic or circular, and in this wide sense the word is applied to numerous subjects, In the terminology of Buddhism, however, it. assumed a considerable importance, becoming a term of 4 Fd, Sylvain Lévi, Bibliothtque de Wffeole des Hautes tudes, fas, 160 et 190, Paris 190711.CONTHIMUTIONS TO THE STUDY OF MANDALA AND MUDRA 59 particular significance which, perhaps, most distinelly appears from the ‘Tibetan translation of the word mandala and its use in the Tibetan language, ‘The Tibetan equivalent or translation is dhyit-hkhor, literally meaning “middle and circumference” consistent with the sense of mandala in classic Sanskrit. This interpretation may simply be a descriptive term for the prineipal aspect of the Buddhist mandala, but possibly, while transla- ling, the Tibetans have conceived the word mandala as com- posed of madhya and tala, Sanskrit voeables very clos responding to dkyil and hikhor, In Tantrayana, mandala or dkyil-bkhor signifies a arrangement of deities, mantras arranged in cireles, a sacrifice arranged in a circle, a circle or design drawn on the ground or on a disc by means of coloured sand or threads or sacrificial material, etc., but in any case an object or idea narrowly con- nected with religious service, particularly of sacrificial character, or with Yoga meditation, as will also appear from a few examples of terms derived from dkyil-hkhor or mandala: dkyil-hkhor or mandalavat denotes anything having circular or mystic figure, especially the design of the fancied celestial mansions of deities, hence any Tantric deily placed in a mandala for worship, dkyil-hkho r-gsum or trimandala, “three cycles (of offerings)”, denotes “sacrifices to Bon-gods, contemplative offerings, and mangala-offerings, and mandala-gyi diyil-hkhor, “the mandala of mandala” is the Buddhist map of the world or a diagraphic representation of the Buddhist conception of the universe, in fact, a microcosmos which al certain occasions is offered to the deities, as f. inst, the rice-mandala described in the following. In ils completed form the ritual maydala represents an area circumscribed and limited by a well-defined circumferential line which generally and in principle is a cirele, but in particular cases it may be found modified into other shapes, such as the Hower of a lotus (various Japanese magdalas), a square (the mandala of Mahendra and numerous permanent mapdalas in Buddhist temples), a triangle (m, of the Fire), or an are (m. of the Wind). ‘The centre of the mandala is marked or distinguished in different ways and carries the figure or symbol of the deity60 ERIK HAARIE particularly concerned, and within the area of the mandala a mumber of figares or elements of various character are disposed according to a certain system, forming zones or cireles concentric to the circumference of the mandala, In addition to this arrange: ment single elements in one or more cireles may themselves build the centres of minor circles of elements, in fact, mandalas of inferior order within the mandala itself, the totality of the man- dala thus forming a concentric geometrical system or diageam (clen), more or less complicated, containing a certain number of elements (brlen), arranged according to this diagram. ‘The elements, which vary considerably in choice and character from one mandala fo another and even within one and the same mandala, may be referred fo two different groups, one comprising elements of cosmogonie nature, and one comprising elements of apparently most different nature, representing deities, mythic beings or objects, philosophical ideas or symbols, and ritual objects, All the latter elements, however, are so far related that they either themselves represent the divine principle, or they may, according to Buddhist philosophy, in some more or less obvious way be identified with deities, or be divinified themselves. Each of the places in a mandala is assigued to an element of specific essence, on the other side any such particular element may occur in different mandalas, but the representative medium or symbol of an elemental essence may vary and prove to be of an extremely different apparent quality, according to cireum- stances, When a mandala is built up materially, the elements generally consist of images, figures, or si nt symbols, Thus a deity may be represented by his image, but just as often he is represented by one symbol or other chosen among his attributes or signifying some characteristical quality of the deity. On the other hand, elements which in their ordinary sense are common, palpable objects, while a particular essence is ascribed to them when conceived ritually, may be represented in their common shape, but they may just as well be represented by images or symbols of deities to whom they are somehow related or with whom they may be philosophically identified. In certain cases, such as the rice-mandala, the mandala is only indirectly buill up of its elements, these being substitutedCONTRIAUTIONS TO THE STUDY OF MANDALA AND MUDRA 61 by the sacrifices or quantities of sacrificial material. In the seed- mandala, especially performed in Japan, each element is re- presented by ils writlen mantra, With regard to structure and content of elements, or with regard to destination, or the sects or schools using them, the mandalas as a whole may be referred to such a nrultitude of types and vari- cties that any attempt to give a general classification must he abandoned at present, A view of the tables given by ‘Tucci, containing some hundred mandalas, may give a sufficient im- pression of the complexity of the problem. One of the reasons of the multiplicity of possibilities, which the arrangement of the mandalas presents, is the fact that a particular series of clements by no means is bound to be exclusively represented by one particular arrangement of mandala, The ‘Tantrism, on the con~ trary, makes allowance for a co-ordination of various ways leading to the same final aim, ‘The simplest specimen of the mandala, only contains a single clement, such as Dainichi Nyorai (Vairocana) is the Ichiin- section of the Japanese Kong6-kai-mangala®, A Tibetan mandala of five elements, Vajrasattva surrounded by the four Lokapilas, is given by Tucci’, and mandalas of nine elements, a Buddha surrounded by eight Buddhas or Bodhisattvas, are well-known in Tibet and Japan. A somewhat more complicated type, the Samvara-mandala of about 60 elements, is performed in India, ‘Tibet, and China®, and as examples of especially complicated mandalas we may mention the mandala described by Bu-ston, consisting of 189 clements, partly arranged in five minor mandalas within the principal mandala’, and the complex of the Japanese Indo-Tibetica, vol, 1V, pt. 1, Roma 1941, + Ostaslatische Zeltsebrift, VI—VII, 191718, ° G. Tucci: Tibetan Painted Scrolls, Roma 1949, Plate Z. 4A, Gotty: The Gods of Northern Buddhism, 1928, Plate XVI — G, Tueel: ‘Tibetan P.S., Ph Z. * Niypannayogivall of Mahapandita Abhayakaragupta, ed, by Benyotosh Bhattacharyya, Gaekwad’s Oriental Series CIX, Baroda 1949, p. 26. — G. Tue ‘Tibetan P.S., Pl. 220.—F, D, Lessing: Yung-Ho-Kung, Stockholin 1942, vol. 1, p.132 and plate XVI; Rep, Selont. Exp, ete, of Dr. Sven Hedin, Publ, 18, VUE, Bumogr. © G. Tucel: f. 70. ny YOR IV. L, pe62 ERIK HAARH Kongé-kai-mandala consisting of nine sections, comprising a total number of elements amounting to 4374, ‘The mandala is celebrated at various oceasions, e.g. by the invocation of the help and support of a deity, by exoreism, by sacrifices, by the initiation of a monk or priest into different grades of monasterial or sacerdotal dignity, whereto, Inst but not least, the vast importance of the mandala in the act of medita- tion is fo be added. ‘Taking the variety of types, of destinations, and of accasions of celebration of mandala into account, some special features, however, seem {o be practically common and fundamental to all mandala-rites: 1°. The mandala is successively built up of its elements during the celebration, notwithstanding, that this building of it may be either of a quite concrete character, the images or symbols of the constituent elements being directly placed, one by one, at their particular positions within the circle or circles of the ritual diagram, or of « semi-abstract character, the elements of a permanently represented mandala being successively visualized by the officiant, Finally it may be of a quite abstract character, a pure mental act, the elements being meditatively imagined. 2°. First of all, the circumferential line is drawn or established. ‘The frequent cases, where special dises or permanent arrange- ments are used, only represent modifications, but no exceptions from the ritual principle. Next in the performance, the centre is established by placing at this point the figure of the god, to whom the mandala is addressed, or with whom it is particularly concerned. 3°, The frame having thus been established, the performing officiant, the sidhaka, takes his first step of approaching the centre of the mandala by entering it from the East, deposing the eastern element of the outmost circle at its appropriate place, and then 4°, ho places, by tums, the rest of the elements, completing al first the outmost circle in the direction East-South-West-North, eventually making more civeuits in (he same cirele to place at first the elements of the primary cardinal directions and then 2H, Smidt toe. elt.CONTRIBUTIONS TO THY: STUDY OF MANDALA AND MUDRA 63. the elements of the secondary directions, or to build secondary mandalas in the cardinal directions. In the total procedure of building the mandala, however, the direction of the apparent, daily motion of the universe is maintained, Contemporarily to the physical performance of the maydala the officiant meditatively performs the celebration in a spiritual plane, so that the building of the material mandala by the sueces- sive deposits of its elements corresponds to a spiritual wandering or gradual approach to the god who at the same time is the physical and the spiritual centre of the mandala, and the com- pletion of the material mandala means to its performer the achieve- ment of the purpose of his meditative exertion, ‘The various cire- les of the mandala, through which this transition from the or- dinary and material state of the performer to the supreme and spiritual state of the central divinity takes place, exhibit, as to the significance of their constituent elements, a corresponding graduation of spiritual plane, In Tantrayfina special mandains of deities are used, above all in ceremonials having the object of identifying the performing sidhaka with a deity or allaining bodhi or makdbodhi, the state of buddhahood. ‘The god, with whom the identity is desired, resides in the centve of the mandala, and all the other deities in it are mere symbols representing various emanations of the central god, so that by successively identifying himself medita- tively with each of these emanations, the sidhaka conceives o adopts the various qualities of the central god, elevating himself to gradually higher mystic planes, finally becoming unified or identified with this central deity, ‘The stale of identity with the divinity thus finally accomplished through the mandala, is samadhi, the final aim of the Yoga, beyond time and space, Mantra, —‘The mantra is a word or a sentence, frequently a sentence of some apparent significance combined with one or more bias or mystic syllables as om, hip, phal ete. Behind the apparent signifieance of the mantra, the mystic significance of it, in ils deepest sense the essence of a deity, is to be conceived. When a mantra is pronounced and addressed to a god, it is the yery sound of the pronounced mantra which represents or estab-64 ERM HAAN lishes that particular mystic plane, in whieh the spivitual quality of the god may be experienced by the sidhaka, Mudra, —In its common sense the Sanskeit word mudré means a sign or seal, or a hand-posture. As a Buddhist religious term in general it most frequently denotes the ritual hand-posture or the hand-posture by religious absorption, expressing a divine essence conceivable to those initiated in its mystic plane. In Mahayana, it farther signifies the gakfi in its abstract sense of the divine potency through which the deity is active, and in ‘Tantrayana, in ‘Tibet and in Mongolia, it also signifies the bodily Sakti, the Yum, embracing the god, In the latler sense mudra ocems in the initiation rites denoting a young woman who, in the meditative imagination or, under certain circumstances, alive symbolizes the prajita. Considering the mudras in the sense of ritual hand-postures, we have to distinguish between the rather limited number of hand-postures characteristic of the different deities ancl well-known from the Buddhist iconography, and the far more numerous lithurgie hand-postures applied in the various ce- remonies and services, especially those prescribed in the Yoga- tantra: ‘The iconographic mudrd indicates a particular essence or qual- ity of the god or deity, o whom it is attributed, and in Tantrism a mudri may accordingly denote the visible symbol used in a mandala to symbolize a deity, the idea of mudr& thus being inseparable from that of Tantric deity, In the celebration of mandalas particular lithurgie mudras are performed, correspond- ing to each element of the mandala, and in the special mandalas of Yogatantrism, the mudras this manner become, in a merely apparent and technical sense, the indicators of the single phases of the meditation quite similar, in this sense, to the symbolic figures of the maydala. ‘The esoteric significance of the mudri, however, is to be con- ceived in its relation to the mantra which is pronounced during the exercise of he mudra. The esoteric significance of the mudra is that of establishing a potential state of spiritual contact between the siidhaka and the deity concerned, while the mantra is to release their active contact.CONTRIBUTIONS TO THE STUDY OF MANDALA AND MUDRA 65 The Rice-mandala. ‘The 87 elements of the mandala in manuseript A, given and commented on p. 90, are the characteristic constituents of the Rice-mandala, Taken in their ritual order they form a series of groups showing the following correspondance to the diagraphie arrangement of the mandala: Centre: Meru, the centre of the universe. — Ist civele: the four continents and their eight satellite islands, — 2nd circle: the four worldly treasures, — 3rd circle: the eight jewels. — 4th circle: the eight mother-goddesses of Buddhism. — 5th cirele: the two celestial bodies sun and moon and the two symbols of secularity and religion. ‘These elements are the principal constituents of the Buddhist cosmos, and therefore the rice-mandala is, in fact, a microgram of the universe. The rice-mandala is fairly well known from various works, Waddell’ gives the names of the elements in dialect, a diagram, a translation of the ritual text, and a number: of ceremonial details, all originating from the Kar-gyw sect in Tibet. Lessing? gives an account of the different sorts of elements and their ritual arrangement and sequence from informations obtained in the famous temple of Yung-Ho-Kung in Peking, Schubert* gives a Tibetan ritual text with translation and copious notes, and Lessing‘ gives additional references to texts together with new material collected in Peking. Comparing the elements of manuseript A with the series of clements given by Waddell, Lessing, and Schubert, we find a complete correspondance as to the significance of the elements, making due allowance for the uncertainty issuing from our elements nrs. 14 and 37 (see notes), The diagrams, however, do nol show such a correspondance, While the diagrams given by Lessing and Schubert and by our manuscript have five circles 2 L.A. Waddell: The Buddhisin of Tibet or Lamalsm, London 1895, p. 97. # Joe. elt, p. 105. » J, Sehuber zig 1954, p. 684, “F.D, Lessing: Mise, Lamatst Notes, I, Notes on the Thanksgiving Offering, Central Asiatic Journal 11, 1056, p. 58. as Rels-Mandala, Asiatica, Festschrift Friedrich Weller, Lelp- 5 Aote Ortentalia, XTTT66 WK HAARH of elements around the central area, that given by Waddell around the central area of the shows three zones of elemen mandala, obtained by superposing the circle of the worldly treasures upon the circle of the continents, and by ineluding two circles, mrs, 3 and 4 of the other diagrams, in one single zone, though maintaining two concentric circles of elements within this zone. Moreover, our clements nrs, 6 and 7 are siluated op- posilely to the corresponding elements of the other diagrams, probably due to a more mistake, and our elements of the worldly treasures, nrs. 1417, ave displaced by 45 degrees from their natural positions, This anomaly may be ascribed to (he carrying through of an error once committed in the placing of these ele- ments, on the other hand it may be explained as a mere practical device, as described below. ‘The rice-mandala is a sacrificial mandala of a quite particular and most interesting type, through the performance of which the officiant creates anew the total universe including the devas and the integrity of wealth, Physically he creates it as the miero- cosmos of the mandala itself, but mentally he creates it as a psychic reality which he mentally offers to the universal deities as a sacrifice, partially for thanksgiving, partially to procure divine fayour for the benefit of all beings. Waddell deseril es this offering as a daily event in the amaistic temples, and according to Lessing it is part of many major services, ¢. g. as a thanksgiving, gtaii-rag, by the khrus-gsol ceremony for the preparation of consecrated water. With regard (0 the further description of the rice-magdala, the ritual connceted with it and the ceremonial performance we shall refer to the works of Waddell, Lessing, and Schubert cited above. Particular attention ought, however, to be paid to the cosmographic principle of the mandala, to the fact that the pure cosmogonie elements of it represent the common Indian concept of the world with its arrangement of concentric graduation around the central mountain—only the aakgalra may, perhaps, be con- sidered missing, The cireular system of the mandala is nothing but the terraces of Meru as imagined in Indian cosmology, represented in their projection upon a horizontal plane, ‘The diagram given by Waddell corresponds to the offer-stand of threeCONTRIBUTIONS TO THE UDY OF MANDALA AND MuDRA 67 tiers given on p. 206 of his work, and represents in fact the ancient conception of a Meru having only three terraces, as known from the Adharva- Veda and maintained by several peoples of Gentral Asia, while the diagrams of Lessing, and Schubert and that of the pre- sent manuscript probably represent a later stage of development. ‘The cosmographie character of the mandala, which not only applies to the rice-mandala, but to maydalas as a whole, is particularly emphazised by two invariable features in the rile of mandalas, the orientation of the mandala, and the strict observ- ance of the direction of the daily motion of the universe. ‘The orientation, no doubt, has originally been a pure astronomical one, but now it has, in most cases, a mere formal nature, following the common ritual rule that East is indicated by the position of the sfdhaka. As mentioned above, four elements, nrs, 1417 of the manuscript, are displaced from the primary to the secondary wdinal directions, According to the correct diagram four heaps of grain are to be placed in the primary directions, while only two heaps are to be placed in the secondary directions, and provided now that under certain conditions spacial difficulties may have arisen as to the realisation of this arrangement, then the problem might simply and practically be solved by displacing the four elements in the way actually shown by the manuscript, and such a displacement would mean no severe violation of the principles of the mandala, Mandalas are celebrated throughout the Buddhist world, but have attained their highest development in the Tantrayfna, The age of the mandala is unknown to us. The name itself, however, suggests a considerable age, and it may hardly be going too far, when referring the origin of the mandala to the popular religion of a pre-Buddhist period, Although the purpose of celebrating the mandala may appear far remote from any cosmological significance of the mandala, especially in the schools of Tantrism, yet it remains a fact that features of a pure cosmological nature yield fundamental char- acteristics to the mandala and its performance, and the cos- mologic frame and base of the mandala, may prove less co tradictory to ils actual purposes and ceremonies, than imme- diately appearing to us.68 ERMC HAARH First of all, the design of the world presents, on certain stages of religious conception, the natural frame within which the diverse powers or beings, good or evil, are to be invoked, con- jured, or exoreised, such as we may presume that the main purpose of the mandala has been in an early age of Buddhism or still eaulier, the mandala even nowadays serving the same purpose on a large scale, Maintaining, during its inner and outer development, the cosmologic principles of the mandala, deeply rooted in the e mon ideas of the masses, Buddhism, no doubt, has adapted the purposes and the use of the mandala according to the actual doclrines and uniyersal conceptions of its various schools, the elements of the mandala undergoing corresponding transforma- tions, ‘The idea of a god or active divine principle being independent on the law of action, Karma, and the conception of a spiritual world as developed in the Mahay&na, brought meditatively a spiritual cosmos into existence, which became a reality in the psyehic imagination, parallel to the material reality of cosmos represented as a microgram in the mandala. When thus per- forming a mandala for the purpose of invoking a god or attain. ing Nirvana or Samidhi, the performer physically pervades the universe, in the most primitive sense starting from the outmost border of the world and wandering towards the abode of the divinity in its centre. Realizing, however, the ommi-presence of the divine principle, he, in his meditation which advances step by step collaterally to the material performance of the mandala, mentally visualizes the various aspects of the divinity, finally experiencing the universal totality of the supreme being. Mudras and Mantras of Three Durgati-Parigodhana-Mandalas. Mudra and mantra are arcana sacra, only accessible to those duly initiated, and therefore only comparatively little informa- tion, especially about the mudras and the lithurgie correspon- dence between mudris and mantras, is to be found in literature dealing with Buddhism, A rather extensive series of mudris hasCONTRIBUTIONS ‘TO THE STUDY OF MANDALA AND MUDRA 69) been published by Horion ‘Toki, wherelo the valuable informa- tions, given by H. Smidt, loc. cit., are to be added. A sort of handbook of mudris in Saktism or Hinduism, the Mud Nighanfu, was published by Avalon’, and various, mostly frag: mentary material is given by several authors, e.g. by de Visser’ ‘The manuseript B contains no arbitrary collection of mudras and mantras, but a certain inner coherence is obvious. On the other hand, il appears that the material does not constitute one connected whole, Thus two different languages occur in the mantras, the drawings are of two dillevent types, those with ‘Tibetan text being distinguished by broad sleeve-bands (fig. 2) instead of the simple thin lines in the drawings having Sanskrit text, and finally a number of mudras are occurring twice or more in an apparently systematic way, ‘The mantras constitute Ure mutually parallel sequences to be designated by 1, II, and TI, comprising the pages 35a—55), 56a—78b, and 79a—I7b, respectively. These three sequences of mantras are practically identical in the fundamental signit- icance of the texts. Formally, the Sanskrit series I and IT are almost identical, too, though differently abbreviated, while the ‘Tibetan text of IIL is more explicit than the Sanskrit texts, Regard- ing the mudvas, we find that I and HIE represent two almost identical series, while II is quite different from them. Purther- more, the Sanskeit series I and II are inyocative, while the ‘Tibetan series IT has # referring and explanatory charaeter, All the three sections, however, have the general appearance of li- thurgie preseriptions or sddhanas, one of them, the Tibetan section, particularly referring to the arrangement of a mandala. ‘The first 37 mantras of all three series, collaterally refer to one and the same sequence of ‘Tantric deities, while the subse- quent few mantras show a less distinct correlation, and therefore it has been found appropriate to deal at first with the three series of 37 mantras, before considering the remaining fragments, The particular sequence of 37 Tantric deities, found in the manu- * Si-don-n-dzon, Annales du Musée Gulmet, tom, VIL, Paris 1899, * Tantitk Tests, ed. by Arthur Avalon, vol, I, Galeutta-London 1913, * MW, do Visser: Ancient Buddhism in Japan, I-11, Buddhtes, 1. sér., tom, IL-W, Paris 1928-35,0 EMIK HAARH script, exactly corresponds to the sequence of deities in the cycle of Kun-rig rNam-par-snai-musad, or Sarvavid-Vairocana, given in colunm IV of table I according to the different canonic and non-canonie sources of this cycle, ‘Phe eyele of Kun-rig rNam-par-snai-mdsad, which has at- tained a very great importance in various schools of Buddhism as a symbolic base of diverse systems of meditation, probably has as its original souree a Sarvadurgatiparisodhanasiitra known from a Tibetan version in bKak-hgyur (Tohoku 483) entitled Sarva-durgati-pariéodhana tejordjasya ‘Tathigatasya Arhato Sa- myakgambuddhasya kalpa nama, to which Tsoi-kha-pa has claborated two commentations (Tha and Dse of his complete works). To these sourees we may add the important literature originating from the Sarvalathagatataltvasaigraka, to which we shall return a little Inter, and various Tibetan sources reported by Tneeit. In all this material the eyele of Kun-rig, invariably presents the same sequence of deities as found in table I and in our manu- script. Moreover, it appears that the mantras in the manuscript, corresponding to the 37 deities, are identical with the mantras of the same 87 deities, found in the literary sources of the cycle and the mandalas of Kun-rig and given by Tucci, loc. cif. p. 32-36, —In consequence of these statements and of the fact that the very names of Kun-rig rNam-par-snai-mdsad and of Sarvavid-Vairocana occur in the initiating mantras of the three sections of the manuscript, we may be justified in concluding that the three sections, as far as the 87 first elements are con- cerned, refer to ceremonies of Vairocana-mandalas of the Durgati- Parigodhana type, ef. notes referring to nv, 3[5] a of table I. Regarding the remaining fragments of the three sections the fundamental question is whether they are integral constituents of the seetions, or they are irrelevant in the present connection, belonging to other series of mantras. In principle, the mantras in a sadhana based on a eycle of 37 deities are nol necessarily confined to the number of 37, but it is a conditio sine qua non that all these 37 deities are represented and none more. If the 1 Indo-Tibetiea TIT, pt. J.CONTRIBUTIONS TO THE STUDY OF MANDALA AND MUDRA 71 fragments are to be considered as coherent with the preceding sequences, symbols such as Vajraéravaga or Vajrapratiriga must refer to the cycle and particularly to Vairocana, No reference of this kind, however, seems obvious, nor do these symbols oceur in the great Vairocana-mandala containing 133 elements!, Recognizing all circumstances at hand, including that the manu- script itself is a fragment of a more extensive collection, it may he justifiable to consider the evidently coherent parts of the sections as independent units in themselyes, possibly being components of a greater lithurgic whole within which a formal o ceremonial coherence between the sidhanas of 37 mantras and the remaining fragments, may exist, According to Tson-kha-pa the eycle of Sarvavid-Vairocana re- presents essential features in the doctrine of Mahaydna. In fael, it represents a special conception of the 37 bodhipaksikas or con. ditions for attaining bodhi, or the 37 sorts of practice, mentioned by Asaiya. Sarvavid-Vairoeana symbolizes the pure and primi- genial cognition, and the 36 deities symbolize various emana- tions of this cognition, being more and more diffuse the further we descend the sequence of the symbolizing deities. Taken in their opposite order, the 37 deities represent the elements of the mandala, and indicate the single phases of the act of meditation which has the final aim to realize psychically, and to attain, this primigenial state of purity and cognition, i. e, identity with the supreme being symbolized by Sarvavid-Vairocana. The 37 deities are classified in 7 groups of particular esoteric significance, as schematically outlined in the Tibetan section of the manuseript: 1, Sarvayid-Vairocana signifies the pure cognition or dharma: tajiidna. — 2. The 4 principal emanations or Tathagata represent 4 particular aspects of the pure cognition, the @darsajfidna. In the Vajradhatu- and the Kongo-kai-mandala they are conceived as the 4 Dhyani-Buddhas,—3, The 4 Satis represent the 4 aspeets of self-vanquishing or vimokgamukha, In section TIT they axe defined as the “components of the great sakti sphere”, — 4. The 16 Bodhisattvas symbolize 16 different insubstantialities or déinyald of Mahayana doctrine, being in III subdivided into - g0, Mass, 1997, p. L4—147. * Clack: ‘Two Lamalstie Pontheons, Gal72 asa Haar 4 “mental spheres” of “the East”, “the South”, “the West", and “the North”. —5. The 4 goddesses, Lisyl, Mali, Giti, and Nrly& signify the four perfectioris: the gift, the morality, the patience, and the energy. In III they are “goddesses of the inner (spiritual) sacrifice”, —6. The 4 goddesses, Dhipa, Puspi, Alok& (or Dipt), and Gandhi, in II designated as “goddesses of the inner (spiritual) obliteration”, denote the four remanent perfeetions, those of meditation, of mystic cognition, of convic- tion, and of the cognition of the appropriate means, — 7, The 4 doorkeepers signify fidelity, energy, conscious will of cognition, and concentration, being in [II characterized as “the great door- keepers of the inner sphere”. ‘The arrangement of mandalas of Sarvavid-Vairocana is par- ticularly known from the extensive material given by ‘Tucet in his various works, The cycle of 37 elements, though having a constant doctrinary significance, may, however, be represented by a multitude of mandala-arrangements according to Tantric conception, and the diagrams of the actually known mandalas of this eycle exhibit pronounced divergencies. Thus, mandala of Kun-rig rNam-par-snaii-mdsad is, in reality, the designation of a group of mandalas and not that of one specific arrangement of mandala, Judging from the available material, the mandalas of the Vairocana eyele of 37 deities may be referred to two groups of mandalas, those of Kun-rig., and those of Vajradhate and the Katsuma-E of the Korgd-kai, The latter group originates from the Sarvatathagatatattvasamgraha-nima-mahayanasiitra', and the Vajradhatu-mandala is described in the Tattvasaigraha of bsTan- Aggur*, commented in Pattodlokart by Anandagarbha. Further it is found in the Chinese canon’, and a description of the Kong6- kai-mandala of the Singon sect is given by H. Smidt, loe. eit. Comparing the diagram of the Kun-rig.-mandala of the Sa- skya-pa school with those of the Vajradhitu-mandala and the + HH. Beekh: Die Handsehn-Verzeichn. 4. Kgl. BIbI. 1914, Abt. Kanjur, rGyud na. "Tohoku Index, Vanjus, rayud ku 2516, 2520, and 2550, and v1 2504, 2° Talshd, urs, 865, $66, end 882, 4 Toee!, LP. HI, p. 39. 8 Ibid. p. 40. Berlin, 8. Bd., BertinCONTIUBUTIONS TO THE STUDY OF MANPALA AND MUDRA 73. Kong6-kai-mandala', we state a fundamental difference. In the former the 4 prineipal emanations and the 4 éaktis constitute the inmost circle and the 16 Vajrabodhisattyas form a single, com- mon eirele, while in the latter the inmost circle only contains the Saktis, the Dhyani-Buddhas forming the centres of ¢ minor mandalas, each of them containing 4 Vajrabodhisattvas, Regard- ing the three sidhanas of the manuscript, both types of diagram muy be referred to, but the obyious allusions to a mandala, given in IIL, which assign a sort of separate grouping to the Sallis, and distinctly refer the Vajrabodhisaltyas {0 four groups, one for each of the cardinal points, seem to indieate a diagram of the latter type. As the principal emanations, according to their ‘Tibetan names in the Kun-rig.-mandalas, eannot be immediately identified with the Dhyani-Buddhas, and they furthermore, in some iconographies given by Tucci, seem to be comprised in the central representation of Sarvavid-Vairocana, serious ob- stacles arise against placing them in the centres of the minor mandalas, but then, realizing the ritual sequence of the de we are compelled to place the four gaktis in these centres, A decisive statement at this point, however, can only be expected, a more extensive and precise material becomes available, and the present study might possibly involve, that some further at- tention is paid to hitherto unstudied or unpublished materi dealing with Buddhist lithurgy. Description of the Manuscripts, Manuscript A consists of a single sheet of paper, 48x48 cm, showing at its front a mandala represented by the names of its elements written in a rather negligent Tibetan (dbu-can). The manuscript is reproduced in a reduced scale in fig. 1, and the adjacent branspareney provides a numeration of the elements, indicating their ritual sequence. As the text of the manuseript mosily consists of abbreviations, in some cases showing note- worthy peculiarities, the original text of each element according to the above mentioned numeration is given on p, 90, accom- * HL Sinidt, toe. ett,4 ERIC HAAR panied by an explicite formulation in connection with some ex- planatory notes. Manuscript B consists of 62 sheets, being each of them folded onee into the size of 14x 17.em, showing on each of its two outside pages the drawing of a hand-posture or mudra aceom- panied by one or more explanatory lines of text, or mantras written in Tibetan or in Sanskrit with Tibetan letters (dbu-ear), ‘The manuscript shows a close formal resemblance with the Cambridge manuscripts, Add, 1278 and Add. 1320 originating from the collections undertaken by Daniel \right in Nepal and constituting, according to references, the chapter Adiyogasamadhi of Sarvadurgatiparifodhana}, ‘The drawings have originally been copied from somewhere else hy transferring them, two at a time, lo sheets of thin transparent paper, which thereafter were glued to equally large sheets of a thicker sort of paper, and finally, each of these thus combined sheets has been folded once, the drawings being kept on the outward side, The folded shects of manuseript B show two different, but roughly corresponding, Chinese numerations written at the front- pages in Chinese fashion, and both of them are somewhat un- correel, apart from the deficiency of several figures owing to a later cutting into size of the sheets, Besides, the numbered pages of the sheets carry a Chinese stamp in red colour (fig. 2), run- ning: pei Ja? ma? chiht (Giles), or “Composed by Pei Lama”, Pei being a personal name, probably the monastic name of the Jama, It signifies “the precious one” and is commonly used as a surname in China, La ma corresponds to ‘Tibetan bLama. The first important object of the general analysis of manu- script B has been that of stating the correet sequence of the sheets, and a detailed examination of the text has shown that the order, in which the sheets have actually been found, is the correct one. For the purpose of providing a convenient mode of refer- ence, a corrected edition of the most complete Chinese numeration has been elaborated, coinciding with the actual order of the manuscript, but running from nr. 36 to me, 97. The single pages + C, Bendall: Catalogue of the Buddhist Sanskrit Manuscripts in the University Library, Cambridge 1883. —La Vallée Poussin: Buddhism, tudes et Matériaux, London 1898, p. 182—3,CONTRIBUTIONS TO THE STUDY OF MANDALA AND MupRA 75 are indicated by addition of the letter a or b to the number of the sheet, thus denoting recto or verso in Chinese sense, All the mudras are reproduced on the folded plates and the sequences of text resulting from the mantras, are given on p. 97, as well in a direct transcription as in a corrected edition, For the purpose of comparison the mantras of the cycle of Kun-rig rNam- par-snat-mdsad, given by Tucei (I—T., TIL. 1, p. 82-6), are quo ted on p. 101, and a quasi-translation of the texts of section | and TIT is given on p, 101 11, merely to give an impression of the general character of the lithurgic texts in question, and an idea of the variety of objects serving the Tantric symbology, In the sub- sequent notes to the texts references to the iconography of the various deities, given by Clark, loc, cit., are quoted. To obtain a general view of the material, the three sequences of text, I-III, have been co-ordinated in the following table 1 together with the list of the deities constituting the cycle of Sarvavid-Vairocana, designated by IV. Manuscript A, Text and Notes. 1, rift gyal po. Correetly, rihi rgyal-po, “king of the moun- tains”, signifying Meru or Sumeru, the central mountain and centre of the Buddhist universe, and the dwelling-place of the devas. In common belief in India and Tibet it is identified with Mount Kailasa in Western Tibet, north of Lake Manasarowar, 2, Sar-lus-hphags-po. In Sanskrit purvavideha, “the eastern holy body”, the eastern one of the four universal continents, ular of shape, ils inhabitants being being while and semi mild and tranquil. 8. dhor zad pu gliz, Corr, tho-hdsam-bu-glii, “the southern Jambu-continent", 8. jambudvipa, “the continent of the Jambu- fruit” (the fruit of the “wishing tree” or rose-apple tree). The southern continent is our world, it is blue and triangular, and is characterized by riches. 4, nu pa gyan sbyod. Corr. nub-ba glai-spyod, 8, aparago- daniya, “the cattle-breeding (continent) of the West". The western continent is red and cireular, with powerful inhabitants. 5. pyar pal mi sfian. Corr. byat-pa-la sgra-mi-sfian, the76 ERIK HAARIE author of the manuscript omitting sgra. It denotes “the (con- tinent of) disagreeable noise in the North”, S. uffarakuru, “the northern (continent of) disagreeable noise’. ‘This northern con- tinent is green and square of shape, having extremely fierce and 6. lus, 8. deha, “body”, signifying one of the two satellite islands of the eastern continent, Purvavideha, each of the four continents being accompanied by two satellite islands in the Mahayana conception of the world. 7. lus-hphag. Corr. lus-hphags-pa, 8. videha, “the holy body”, whieh is the second satellite island of Purvavideha, 8 nha-yab, S. edmara, “the father of tails”, the fabulous country of the Rakgas, and one of the satellite islands of Jam. budvipa, . ha yab Zag. Corr, ria-yab yéan, S. aparacémara, “the other father of tails”, the second satellite of Jambudvipa, 10. g'yan Idan, Corr. g’yo-ldan, 8. sitha, “deceitfulness”, satellite island of Aparagodai 11. lam-mehog-higro. “Wanderer of the best way”, S. most frequently called udlaramantrina, “follower of the wise”, It indicates the second satellite of Aparagodaniys. 12, sgra-mi-siian, S, kuru, “the disagreeable noise”, satellite island of the northern continent Uttaralara, 13, sgra-mi-siian-gyé cla-ba. “the moon (of the island) of disagreeable noise”, S. kaurava, “(the island) belonging to the continent of Kura”, being the second satellite of Utarakuru. According to Samghabhadra this land, as well as Deha, Videha, and Kuru, are deserted, 14, ri nag (chag?) ma, The wriling is too indistinet to permit a reliable reading or interpretation. Considering its connection with the rest of the text, we should expect, in this place, a designa- tion of the “jewel-mountain”, rin-po-chehi ri-bo, which so far is confirmed by the text, as ri is the Tibetan word for mountain, 15, dpa-bsam-gyi si, Corr, dpag-bsam-gyi sit, S, kalpalatikd, “The wish-geanting tree", which is generally placed in the con- tinent of Jambudvipa, In consequence of this fact, and according to the arrangements of similar mandalas, we should expect to find this element in the same direction as Jambudvipa. A cor-CONTRIBUTIONS TO ‘THE STUDY OF MANDALA AND MUDRA 77 responding anomaly is found as to the positions of the elements 14, 16, and 17. ‘These four elements together, represent the four so-called “worldly treasures”, 16. Ilod-hjod-pa, Corr, hdod-hjo-ba, 8. kamadhenu, “the wish-granting cow", commonly situated in the western continent Aparagodantya, 17. ma-emos-pahi lo-to, Corr, ma-rmos-pahi lo-tog, “the un- ploughed crop”, signifying “the crop which grows without being Mivated”, ‘This worldly Wweasure generally belongs to the con- tinent of the North, Uttarakuru. 18, hkhor-lo rin-po-che, S, cakraratna, “the jewel of the wheel (se. of law)”, being the first of the so-called “Seven Jewels”, 8, saplaratna, the attributes of the Universal King, Cakravartin- Raja, also known in Hinayana (Anguttara-Nikaya 4, p. 89). ‘The present element is the symbol of perfection of the law, 19, nor-bu sin-po-che, S. maniratna, “jewel of the jewels”, the second of the Jewels, possessing the wealth and prosperity of Cakravartin-Raja, and being the symbol of the aceomplish- ment of wishes, It is also called amarghamaniratna, “the price- less gem", or cinfamani, “the wishing-gem”. 20, blshua-mo rin-po-che, Corr, bisun-mo rin-po-che, “the jewel of the wife”, S. striratna. She is the ideal beauty who is lit for being the queen of Cakravartin-Raja, fanning her lord to sleep, and attending him with the constancy of a slave, which altogether make her the symbol of “the caln 21, blon-po rin-po-che. 8. sacivaratna, “the jewel of the minis- ler”, he who removes poverty, assures the well-being people by his justice, and regulates the business of the empi 22, glaii-po rin-po-che. 8. hastiratna, “the jewel of the ele- phant”. In the capacity of hearer of 84000 sacred books it sym- holizes the infinite propagation of the religion, while borrowed from the Buddhism by the kings of Burma and ‘Thai it is the symbol of universal sovereignty. 24, rla-mchog rin-po-che. ‘The jewel of the best horse”, S, agvaratna, “the jewel of the horse”, which makes its possessor a wealthy man, and which symbolizes the prompt success in the acquisition of the qualities of the Buddha, 24. dmag-pon rin-po-che. Gorr, dmag-dpon rin-po-che, S.78 ERIK HAARH sendpatiralna, “the jewel of the general” who overcomes all enemies with the sword of wisdom, In Hinayaua, he corresponds to “the jewel of the husband”, parindyakaratna. 25. yler-chen-pohi bum-pa, “"The vase of great treasure”. Though not belonging to the seven jewels, it has been added to those by the Jamas, to fill up the vacant eighth position in the circle of the jewels, thus maintaining the symmetry of the man- dala, 26. syey-mo-ma, “The goddess of dancing girls”, S, lasya, “the goddess of dance’. She is the Sakti of Maitreya, the future fifth Manusi-Buddha and the only Bodhisattva known in Hinay- Ana, Lasya is represented white, holding a mirror, She and the following seven goddesses or Tards are called the eight sacrificial goddesses, or the eight mothers of Northern Buddhism. 27. hphea nab ma, Corr, hphren-ba-ma, 8. méla or matin’, “the goddess of garlands" being the éakti of Samantabhadra, Dhyani-Bodhisattva of Vairocana, She is represented yellow, carrying a mali, a rosary or garland. 28. glu-ma. 8. gitd, “the goddess of song”. glu covers any Kind of song, thus corresponding to S. gita (neutr.), while in classic 8. gita (fem.) denotes sacred song or poem, The Tibetan word, however, makes it most probable that the name of the goddess has heen derived from gita (neutr.). glu-ma or Gili is the personification of some of the qualities of the goddess Sarasvatt, the goddess of music and poetry, and like her, she is the Sakti of the Dhyfni-Bodhisattva Aaijuseé, the god of the transcendental wisdom, the Prajfaparamita. Git is represented red, with a lyre. 29. gar-ma. 8. nplyd, “the goddess of dance’, Nylya denotes dance in general and pantomime, while lasya especially repre- sents the dance of entertainment. The former is represented green, in a dancing atlitude. 30. me dog ma, Corr. me-tog-ma, 8. pugpa, “the goddess of flowers". She is the Sakti of Dhyani-Bodhisattva Ksitigarbha frequently represented in the initiation eeremonics of the Northern Buddhist priesthood, ‘The goddess appears while, having a flower in her hand, BL, hdug spos ma. Corr, bdug-spos-ma, 8. dhiipa, “the goddessCONTRIBUTIONS TO THE STUDY OF MANPALA AND MUDRA 79. of incense". She is the Sakti of Dhyani-Bodhisattva Akdsagarbha, and is represented yellow, carrying an incense vase, 32. snaii-gsal-ma. 8, dipa, “the goddess of lamps”, represented red, her attribute being a lamp. 33. dri cha ma, Corr, dri-chab-ma, “the goddess of scented water", S. gandha, “the goddess of perfumes”, who is the Sakti of Dhyani-Bodhisattva Sarvanivarapavishambhin, Her colour is red, and her ailribule is the vase of perfume, BM. itima, S. siirya, “the sun”. 35. cla-ba. S. candra, “the moon”. 36. rin po cheg. Corr, rin-po-chehi ydugs (the abbreviation is possibly due to lack of space), 8. ralnachattra, “the jewelled umbrella”, one of the eight auspicious emblems of royalty. 37. gdui phyogs tas. See the following clement nv. 38. 38, rnan-par, According to the texts published by Schubert and Lessing the two elements nrs, 37 and 38 should be read: gdwi phyogs-las rnam-par-rgyal-bahi rgyal-mishan, of which gdwi, however, does not oceur in the texts concerned. They should be translated by “The victorious banner of the world of passion”. ‘Therefore the rice-mandala contains only 37 elements, not 38 ones as maintained by Waddell and Schubert and as apparently appearing from our manuscript, The 38th element is represented as “in the middle are the gods” by Waddell, and as “‘in der Mille die Gétter"” by Schubert, It depends, however, on a mis- interpretation of the Tibetan text, because the text which follows after rgyal-mlshan in element 37 is merely another way of de- scribing the universe and its content, or the mandala regarded from another point of view. rNam-par might possibly be the beginning of rnam-par rgyal- bahi khan bean, “the entirely excellent mansion” designating the abode of the principal deity invoked, or the place of the universe occupied by the gods, The Tibetan texts speak against sueh an interpretation. On the other hand Waddell (loc. cit. p. 309) defines the 38th element just this way in his diagram, but it does not appear from his translation, ‘Therefore I am inclined to regard the text appearing as a 38th clement as an expression comprising the mandala as a80 MMIK HAARUL whole, i.e. the apparent 38th element represents the total sum of the actual elements 137, In the manuscript the word dai is added to the names of the elements 6, 8, 10, and 12. The occurrence of this word, meaning “and” or Latin “cum” (cf, “eumtative”), probably is to be ascribed to the influence of some additional text, or to a verbal representation. Manuscript B, Table 1. Numbers of the following table, given in ilaties, indieate that the corresponding mantra is written in Tibetan, and figures, given in [], are those reconstructed, owing to defaults or defi- ciencies of the manuscript, ars. [64] and [68] excepted, being corrections for 53 bis and 66 of the Chinese numeration, 51 ais omitted, the page being unused, — 59 a—b are omitted, the shect having the Chinese number 38, not belonging to the present series. Purther, the pages carry no text, but only two mudras given in the total reproduction above, —On page 67 b, two different mudriis are shown, one corresponding to 45 b and 89b (Vajrakarma), while the other represents the namaskara- mudd, eorresponding to [54] a. The drawing of this mudra shows a quite particular fashion of the sleoves, but the signi- ficance of the mudef at this place is unknown. — 95 a has only a text, bul no mudri, — 96 a—b are missing in the manuscript. The signatures of the table are to be interpreted in the follow- ing way, the comparative signatures of the first four or five numbers of the three sections, though, being rather disputable, owing to great formal divergencies in the corresponding texts: * indicates that the mudri only occurs once, = identical mudra, mantra, and position in the ritual se- quenee, = identical mantra and position, different mudras, ~ identical mudra and position, different mantras, figure) identical index-figures denote identical mudras having different mantras and positions, letter) identical index-letters denote identical mudras and man- tras having different positions,CONTRIMUTIONS TO THE STUDY OF MANDALA AND MUDRA BL Table 1. u 1 uw Ww 56a) = 3[5]n ~ 79a" (1): Kun-rig yNam-par-snan mdsad, Sarvavid-Vairocana, 56b* = 3[5]b ~ 790 sByon-bahi xgyal-po, (S. Akgobhya), 57a = 36a ~ 80a (8): rGyal-mehog-rin-chen, (S. Ratnasambhava). 57bY = 36b ~ 80b Sakya rig. dba, (S. Amitabha). 6[8]a- 87a ~ Sta (S. Amoghasiddha). 5(8)b- 87h = 6b (6): Locana. 60a" = 38a = 8[2Ja (7); Mamaki, 6Ob* - 38b = s[2]b (8): Pandara. Gta) = 39a = 82a (9): Tara, GIb* - 39b = san + Vajrasativa, G[2]a* = 40a Sha : Vajra 6l2jb*~ 40b = 84d + Vajra 6[8]a®~ dla = 85a Vajrasadhu, 6[ajb%= 41h = 850 (14): Vajraratna, G4a® 42a = 86a (15): Vajratejah or Vajrasiryn, 64b% = 42d 86b (16): Vajraketu, [65a - 43a (65]b= 43b 87a (17): Vajrahiisa, 876 (18): Vajradharma. Ww 6[6ja*= 44a = 88a (19); Vajratiksna. G[6]b*= 44 88b : Vajrahetu. 6[7]a*= 45a = 89a : Vajrabhaga, 6[7)b = 45b = 896 2 Vajrakarma. (68]a*= 46a = 90a : Vajraraksa, (68]b*= 46b = 90b + Vajrayaksa. 69a* = 47a = Ota + Vajrasandhi, 69b* = 47bY = 916 + Vajralis Wat = 48a = 92a (27): Vajramila. Wb* = 48b = 92b r na 19a = 98a T1b* = 49d = 936 7a" = 50a = dha 72b* = 50b = 94b © Acta Ortentalia, XXU1182 ERIC HARE 1 1 m1 w 730% ~ 6[1JbY= 95a? (83): Vajragandha. Bb = S2a* = 95b0 (34): Vajrailusa. T4a* (85): Vajrapasa. 74b* (36): Vajrasphota. 7a® = 63b — 9[7]a® (37): Vajraghanla. 75b9 = [54]a — 9[7] v7) 7(6)a 7[6]b% 77a 7b = [d4]b 78a = 5[5Ja 1 78b* 5[5]b* Original text, section 1. 3(6)a. om Svaihudhajanavajra, dbul gyi tha bahi, rai gis thu 1 Khar, om sarvavid him, 3(5)b. thug khar samalastvam, Tha tshog re thams cad gyis, ma lus sam ead, om vajra amkuganea, samyasivam, om sarvavid him, 362. om sarvavid phal. 36b. om sarvayid &h, 37a, om sarvavid tral. 37b. om buddhalocani him. 38a. om vajramAmaki tram, 38b. om vajrabantare the, 39a, om vajra taretulare. 30D, vajrasatva him. 40a, vajraraja ja. 40b. vajraraga hob, 41a, vajrasiidhu dhus, 41D, vajradna trim. 42a, vajrateja rya, 42d, vajraketu bhri. a. vajrahisa ha 43», vajradharmah hri, 44a vajratiikgya dhi, 44D, yajrahetu Kram, 45a, vajrabhasa bha. 45D, vajrakarmal kam. 46a. vajrarakya ram, 46b. vajrayaksa ksam. 47a, vajrasandhi slam. A7b, vajralasya hiup. 48a. vajramale tram. 48b. vajrakirti bri, 49a. vajranyite ah. 49b. vajrahhaimpe him. 50a. vajra eputpe tram. 5OD. vajra Moki bri, 5(1)b. vajragandhe ah, 52a. vajra ampkusa ja, 52b, vajrapaga him. 53a, vajrasofa vam, 53b. vajraghanfa hoh. (54). kalpabhadragi, om sarva samskarapari. (54)b. vajra Sravaga, 5(5)a. vajra pratiika, 5(6)b. vajra krodha. "3CONTRIBUTIONS TO THE STUDY OF MANDALA AND MUDRA 83 Corrected leet of section Ts 3(5)a. Om svam buddhajiinavajra, dbul-gyi tha-bahi, rant- gis thugs-dkar, om sarvavid him, 3(5)b. thugs-dkar samalastvam, Iha-tshogs-de thams-cad-gyis, ma-lus thams-ead, om vajranileu- Sanca, samyastvam, om sarvavid him, 36a, om sarvavid phal. 36b. om sarvavid Gh. 37a. om sarvavid traf. 87b, om buddhalocani him, 38a, om vajrandmaki tram. 38b. om vajrapindare dehi. 39a, om vajratiretutare, 9b. vajrasaltva him. 40a, vajrardja ja. 40b. vajraraga hob. 41a. vajrasadhu dhus. 41D, vajraratna bm. 42a, vajrateja rya, 42b. vajraketu bhri, 48a. vajrahisa ha, 43D, vojradharmah bri, 44a. vajratikgna dhi, 44D, vajrahetu krum. 45a, vajrabhasa bha. 45), vajrakarma kam. 46a. vajraraksa ram. 46b, vajrayaksa kgam. 47a. vajrasandhi slam. 47D, vajralasya ham, 48a. vajramale tray bri, 49a, vajranytye al, 49b. vajradhape ham, 50a. vajrapuspe trim. 50D. vajriloki hri, 5(1)b. vajragandhe ly, 52a, vajriikusan ja. 52b. vajrapiéa him. 68a. vajrasphota vam. 63D. vajraghanfa hoh, (54)a. kalpabhadrani, om sarvasamskarapati, (64)b. vajra- Sravaga. 6(5)a. vajrapratiiga. 6(5)b, vajrakrodha, 48b. vajrakicti Original text, section Il, 56a, sarvavid. 56b, sarvavid. 57a, sarvavid. 57b, sarvavid. 6(8)a, sarvavid, 5(8)b, buddhalojani, 38a, no text b, no text. 60a, vajra- mamaki. 60b. vajrapanfari, GLa, vajratari, 1b, vajrasatva, 6(2)a, vajraraja, G(2)b. vajravakha, 6(3)a. vajrasadhu. 6(8)b. vajrarand. 64a, vajrateija. 64b. vajrakedu. (65)a. vajra ha za. (65)b. vajra ria rma, 6(6)a. vajradhisana, vajradhiksna. 6(6)b. vajrahitu. 6(7)a. vajrapaga pa, 6(7)b. vajrakarmakam, (68)a._v vajrayakga Kslam, 69a. vajrasandhi, raksa ram. —(68)b, o84 ERIK HAAR GOD. vajralasyi. 702, vajramalu, 70D. vajra kerdi. 71a vajranite, 71d. vajradhul vajragandhe, 73b. vajra Abkusanen, 74a, vajraprasa, 74b. vajrasphola. 7a. vajragauha, 75). kalpabhaja, 7(6)a. kalpabhadvabi. 7(6)b. kalpabhadrah 77a. kalpabhadrahi, 77b. vajra sravaga, 78a, vajra pratiiga, 78b. vajra krod! 72a, vajrapuspe. 72d, vajra Ahlogi. 73a. Corrected text of section IT: 56a, sarvavid. 56D. sarvavid, 57a. sarvavid. 57), sarvayid. 5(8)a. sarvavid. 5(8)b. buddhalocani. 60a, vajramimali. 60b. vajrapandare. Gla. vajratiire. GI. vajrasallva, 6(2)a, vajrardja, 6(2)b. vajrariga. 6(3)a. vajrasidhu. 6(3)b. vajraratna, 64a, vajrateja, GLb, vajraketu, (65)a, vajrahasa. (65)b. vajradharma, 6(6)a. vajratikgna. 6(6)b, vajrahetu, G(7)a. vajrabhiga pa. (7b. vajrakarmakam. (68)a. vajraraksa ram, —(68)b. vajrayakga kslam. 69a, vajrasandhi, G(O)b. vajralisye. 70a, vajramale, 70b, vajrakirti, 71a. vajranrtye, 7b, vajradhiipe. 72a. vajrapuype. 72b. vajriloki. 73a. vajragandhe. 73b. vajriikusa ca, 74a, vajrapiéa. 74b. vajrasphota. 7Ba, vajraghania. 75d. kalpabhadra. 7(6)a. kalpabhadrayi, 7(6)b. kalpabha- dani, 77a, kalpabhadvani, 7b. vajrasravaga, 78a, yajra- pratiiga, 78b. vajrakrodha. Original tewt, section IL. 79a. rgya po kun ri rnam par sna dsa gyi, 79b. shyon babi rgya po dai, 80a. rgya cho ren chen dai, 80), $8 rgya ri dba dati, 81a, me do cher bya de.CONTRIBUTIONS TO THE SCUDY OF MANDALA AND MUDRA 85 81b. byan ma dai. 8(2)a, mah ma gi dai. 8(2)b. gos kar mo dai. 83a, sgrol ma di yam chen po Zii gyad. 83. rdo je sam pa dan, 84a, rdo rje pya mo dan, 84b. rdo rje chags pa dai, 85a, rdo rje le pa de Sar phyo gi sem pa ib gyad. 85). rdo xje rin chen daw, 86a. rdo rje gei ba yjid dai. 86), rdo rje rgyal tshen dai, 87a, rdo rje béad pa de Tho phyo gi sen pa béi byad. 87b, rdo rje chos dani, 88a. rdo rje ron po dail. 88b. rdo rje reyu dan. 89a, rdo rjesmra ba de nu phyo gi sem pa béi byad, 89b, rdo rie las dai, 90a. rdo rje srui ba da. 90D. rdo rje no byin dai. 91a, rdo sje khu chur di byai phyo gi sem pa béi byad. 91b. ge mo das, 92a, phren ba dav. 92b, glu ma dad, 93a, gar ma de nai gi pi Tha ma bdi byad. 93b. du po ma dai, 94a, me do ma dai, 94a. me do ma dai. 94b, mar me ma dai, 9a, dri cho ma da phyihi cho pa la mo 4ib byad. 95). rdo rje lea kyu da, gi sgo bo chen po béi byad, 9(7)b. byam pa. - 9(7)a. rdo re be pa de nan Corrected tewt of section HT: 79a. rgyal-po kun-rig rnam-par-snaii-mdsad-gyi. 79. sbyoit- babi rgyal-po dai. 80a. rgyal-mehog rin-chen dai, 80b. Sikya rig-dbait dai, 81a, me-tog-cher-rgyas bya-de. 81). spyan-ma dai, 8(2)a, mA-ma-ki dan. 8(2)b. gos-dkar- mo dani, 88a, sgrol-ma-hdi yum-chen-po-fitt byad, 83b. rdo-rje sems-dpah dan, 84a. rdo-rje rgyal-po dan. 84D. rdo-rje chags-pa dai, 8a, rdo-rje legs-pa-de éar-phyogs- rgyal-mtshan dani. 87a, rdo-aje béad-pa-de Iho-phyogs- kyii sems-pa-béi byad. 87), rdo-rjechos dati, 88.a.rdo-r}e rnon-po dani. 88b, rdo-rje rgyu dan, 89a. rdo-rje smra-ba-de nub-phyogs-kyi sems-pa-b/i byad, 89b. rdo-rje las dai, 90a, rdo-rje srmi-ba dai, 0b, rdo-zje gnod-sbyin da, 91a, rdo-je khu-tshur-hdi_byaii-phyogs-kyi sems-pa-béi byad,86 ne HAAWH 91D. sgeg-mo-ma da, 92a hphreti-ba-ma dan. 92b, glu-ma dan, 93a, gar-ma-de nad-gi sbyin-pa Iha-mo-béi byad. 93b. bdug-spos-ma dai, 94a, me-tog-ma dai, 9b, mar-me- hab-ma-de nati-phyihi chod-pa lha-mo-béi-ba ma dai, 95a, d byad. 95b, rdo-rje leags-kyu dai, nbebs-pa-de naii-gi sgo-bo ehen-po-h 9(7)b. byams-pa. veeees MDA. rdo-rje byad. Mantras of the eyele of Kun-rig rNam-par-snan-mdsad, according to G. Tacei: 1. Om. sarvavid sarvivarana vigodhaya hana ham phal. 2, Om sarvavid him. 3. Om sarvavid phal, 4. Om sarvavid ah. 5. Om sarvavid tra tha, 6. Om buddhalocani ham. 7. Om vajramamaki tram. 8. Om vajrapandare debi dehi siddhim bodhin lokitaram pa svaha. 9. Om vajratire tutare ture him him him sva sva svaha. 10, Om vajrasativa ham. 11. Om vajraraja jah. 12, Om vajraraga ho. 13. Om vajrasidhu dhu. 14, Om yajraratna tim. 15, Om vajrateja rya. 16. Om vajraketu bhri. 17, Om. vajrahasa ha. 18, Om vajradharma hrih, 19, Om vajratiksna dhrih vajrahetu krum. 21, Om vajrabhisa bha, 22, Om yajrakarma kam, 28, Om vajraraksa ram, 24, Om vajrayaksa ksam, 25. Om vajrasandhi sam. 26. Om vajraldsye him. 27, Om vajramalé tram. 28, Om vaj hrih, 29, Om vajranyti ab. 30. Om yajcadhipe hii. 81. vajrapuspe tim. 32. Om ‘floke hrih. 33. Om yajragandhe ah, 34, Om vajriikusa jal. 35. Om vajrapiéa him. 36. Om vajrasphotra bam, 37. Om vajraghanfa ho, 20. Om y Translation of the Sanskrit text of section I: 3(5)a, Om! svam! ‘Thou Buddha, whose vajra is Inowledge! Oh, divinity of misery with the self like a white heart! Om! all-knowing One, ham! Oh, white heart! Oh, stain! Oh, thouCONTRIBUTIONS TO THE STUDY OF MANDALA AND MUDRA 87 entire assembly of gods! Ob, every every! Om! vajra of the elephant goad, ca! Oh, assemblage! Om! all-knowing One, hum! Om! all-knowing One, phat! Om! all-knowing One, ih! Om! all- knowing One, traj! 37b, Omt Buddha-Locant, ham! Om! Vajra-Mamaki, tam! Om! Vajra-Pandara, the! Om! Vajra-Taretutarel 39b, Hail, Vajrasattva, ham! Hail, Vajra king, jal Hail, Vajra passion, hob! Hail, Vajra virtue, dhus! 41b, Hail, Vajra gem, tram! Hail, Vajra beauty, ryal Hail, Vajra of the banner, bhril Hail, Vajra of laughter, hil 43b, Hail, Vajra of dharma, hri! Hail, Vajra sharpness, dh Hail, Vajra cause, krum! Hail, Vajra tale, bhal 45b, Hail, Vajra of karma, kam! Hail, Vajra of rakya, ram! Hail, Vajra of yaksa, kgam! Hail, Vajra of joinder, slam! 47b. Oh, Vajra of merry dance, harm! Ob, Vajra of rosary, tram! Oh, Vajra of utterance, hril Oh, Vajra of dance, ah! 49b, Oh, Vajra of incense, hiim! Oh, Vajra of flowers, tram! Oh, Vajra of beholding, hril Oh, Vajra of perfume, ah! 52a, Vajra of the elephant goad, jal Vajra of the noose, him! Vajra of splitting, vam! Vajra of the bell, hoh! (64)a. Hail, era of prosperity! Om! Lord of entire notion! Hail, Vajra of hearkening! Hail, Vajra of approaching! Hail, Vajra wratht Transtation of the Tibetan text of section IH: 7a, (About) Adressing one’s self to the all-knowing king Vairocana, the king of purification; and the precious good king; and the Sakya possessing power of cognition; and he who mul- lifies the great flowers, 8Lb. The goddess of the eye, and Mimaki, and the goddess with white garment, and the saviouress, those four components of the great Sakti sphere. 83b, The Vajra of intellcet, and the Vajra of king, and the Vajra of passion, and the Vajra of virtue, those four components of the mental sphere of the East. 85b. The Vajra of gem, and the Vajra of beauty, and the Vajra of the banner of victory, and the Vajra of laughter, (hose four components of the mental sphere of the South,88 ERIK HAART 87h, The Vajra of dharma, and the Vajra of sharpness, and the Vajra of cause, and the Vajra of tale, those four components of the mental sphere of the West, 89. The Vajea of karma, and the Vajra of guardian, and the Vajra of the bestower of evil, and the Vajra of clenched hands, those four components of the mental sphere of the North, 91. The goddess of dancing girls, and the goddess of garlands, and the goddess of song, and the goddess of dance, those four goddesses of the inner (spiritual) sacrifice, 93b. The goddess of incense, and the goddess of flowers, and the goddess of lamps, and the goddess of perfume, those four constituent goddesses of the inner (spiritual) obliteration, 95b. The Vajra of the elephant goad, and .....,...., the Vajra of the oppressor, those four constituting the great door- keepers of the inner sphere, 9(7)b. Oh, lovel ... Notes to the lexis. ‘3f5]a. ‘The text represents a combination of Sanskrit and ‘Tibetan terminology. svarihudha probably stands for syam buddha, svam belng an interjection; fana correspondingly stands for jana, Vajra (rdo-rje) in its fundamental signifleance denotes the thunderbolt of Indra, and hence it signiftes the diamond in the sense of hardness and durability, Further, (is the metaphor of the essence, the smperish- ablo, genuine, and divine quality of the Idea, conceived by the voeable to which itis attached, Moreover, it signifies the divine energy (éakl!) or intelligence (vifiiana), any divine belng representing a vajrasallua, according to the ‘Tantrayana, ‘tha Khar, corr, thugs-dlar, “white heart” expresses the purlfteation or purity, — dbut-gyé tha-batt ra-gis thugs-dkar is to be interpreted as an equivalent to Durgati- Parisodhana, a quality of hat exponent of Vairocana who generally is known by the epithet of Sarvavid or Kun-tig being used in the very text we are dealing with, — (Clark p. 114 and 241), 3{5]b. Combined text as before — samala, adj, “stained” or “soiled”, becomes fan abstract noun by the addition of the suffix tva, which also applies to samya, adj., “meeting”. 8b. Buddhalocani or Locant is the goddess of enlightoning and the Sakti of Dhyfni-Buddha Aksoblya, the latter being always placed in the East of the mandate, The goddess herself is one of the Ave Dhyfnl-Buddha-Saktis, the rest of whom, wilh exception of Vajeadhalwigearl, Saktl of Vairocana, occur In urs, 88a—D, and 39a, —~ (Clark p, 152), ‘38a, Mamakt is the Dhyfni-Buddha-Sakti of Ratrasambhava residing in the South of the maygala. — (Clark p. 151).18 cc Ww 12 2 25 at 3a 19 7 38 a7 an 15 tt 28 at 3838 4 32 ie 4 16 43a er ee 1 & oc BS aE £e OF ag on en oF as 88 rs aa bt ac ME et aePly. 1. ManuseriptFly, &, Manuscript B, page 57. and 86,4ha & 45b Sequence I 4 8 37h 38a 586 ) 42a 426 43aEQUENCE IL poor & gis 5lBIb 3. a » & 8&8 & a © ese & & fe ® 61D 64a 64b 65a (65)b Loy ®Mamdt &, 68b 69a 6% 70a 70b OX, ig ery eX & 736 74a Tb 75a 75b >» & 786Srquency: HI bm, g 8 8 bla B1b G2)a G2) + 8 & c& mM ba 85b 86a 86b Bia %» 90a 90b Qa 5 Oo ®& H ‘a 95b 94a Sa 4bCONTRIBUTIONS TO THE STUDY OF MANDALA AND MUDRA 89 8b. Paadard, “goddess with white germent”, Is the Dhyani-Buddha Sakti of Amitabha in the West, — (Clark p. 152) 30a, Tarolutdre is part of the mantra of the goildess Tra: Omit Térotutaee tore sahil (Waaddel, 1c. p. 150) oF Om vajrative (utdire tare btap am om sva sva sviha (Fucet, Indo-Tibetiea, TI, 4, p. 33), Tira, “Ube saviouress”, Is the Dhyani-Buddha-Sakti of Amegasidahe in the northern direction of the mandala. — (Clark p, 60). ‘39D, Vajrasativa, |. ¢. “whose essence is the thunderbolt”, denotes 1) the Adi- Bualdia, comprising i himself the sum of the Dhyan-suddhas, 2) the spiritual son of Aksobhya and as sueh, the supreme one of the six Dhyéni-Duddhas and ot the Yidam, 8) a VajratodAisatioa or symbolic object of meditation, in whieh senso Vajrasattva isto he adopted tn the presen ease, In the same way, the follow w fiteen madras, nrs. 4Da—A7n, represent Vajraboddsalloas or objects of medita- af a pure symbolic character. — (Clark p. 129 and 273), 40a, Vajraraja (Clark p, 128 and 272), 40b, Vajcardga (Clark p, 120 and 272). Ala, Vajrasadin (Clask ps 119 and 272), 4ib. Vafraratna (Clark p. 119 and 272). 42a, Vafratejah (Clark p. 119 and 271). 42h, Vafrakete (Clark p. 141 and 271, 43a, Vafrahdsa (Clark p. 41 and 271). 43b. Vafradharma, —avavnty of the text is a vocative plural of dharma. (ase). — According to Yyakiyayut, cited sn Chos-hbyung of Bue-ston (ateria~ lien zor Kunde des Buddhisnis, Heft 48, 1991, p, 19), dharma signifies: an clement of existence, the Path, Nleviina, a non-sensuous element, virlu, life, the Doe- trine, (Cho quality of) constant’ becoming, religious vow, and worldly Inve. — (Clark p42 and 271). 44a. Vajratiksna (Clark p. 142 and 270), 4b. Vajrateta (Clark: p. 142 and 270). 45a. Vajrabhdga (Clark p, 144 and 270). 45D. Vajrakarma.— kermableam is composed of karma and the interjoth kam as Indicated by « Visnnga, while Karinekayp, which occurs in 6{7}b, fins been derived from karma by addition of the suffix ka without altering the sense of the ord: netion, promoting or preventing the transmigration of souls. Its the eleventh {Nidanc or cause of existence, aud the fourth: one ofthe Skendias or five components of human beings. — (Clark p. {44 and 270) 46a, Vajraraksa. — ‘The Rakgas are fabulous behngs, living on the island of Camara (ct. p. 91}, and are invoked by sorcerers, They’ attend Vatfravana, who embodies Kuvera in his eapaetty of Dharmapala. — (Clarke p. 144 and 260). 46b, Vajrayaksa,— Tho Yakas, “ghosts”, espectally taunt the mountain passes, ‘Their king is Kuvera, — (Clark p. 145" and 260), a Vairasandhi.— sand originates from sampdht, which in classic Sanskait, means to “place togethor". In this sone the ‘Tibetan name Afu-shur Indicates “clenched hands” and corresponds to Sanskrit Vajramusfi, which is synonymous with Vajrasnndht, — (Clark p. 145 and 266), 47D, Lasya, ef. p.98.—lasya is am trsegular voestive form of tasya, having90 EmK nAARH f Lorminting @ instead of ¢. ‘The same irregularity occurs In a nmmber of eases in the manuscript and is possibty due to an influence of the masculine a-termina- lon in vocative of the a-declination. — (Clark p. 145). 48a, Mala, ef, p. 03, — (Clarks p. 145), 48b. Kirti, “goddess of tale”, is probably related to Gita, by whom she is found to be substituted in similar circles of goddesses, 494, Netya, ef. p. 98,— (Clark p, 143), 49b, Dhiipa, ef, p. 93. — (Clark p. 91). 50a, Puspa, ef. p- 93. — (Clark p. 94). 50b, Aloki, “goddess of beholding”, replacing Dipa, “Aouldess of lamps”, ef, 48b, 5{I]b. Gandhi, ef. p. 04, — (Clark p. 68). 52n, Vajrdikusé, “Vajra Hook”, is one of the four female doorkeepers (doacapatt), who guard the doors of the enclosure of the mandala, She fs black and white, Naving a horsehead. — (Clark p. 64), 2b, Vafrapafa, “Vajta Noose”, 1s the second doorkeeper, being black and yellow with boathead. — (Clark p. 64). 53a, Vafrasphota, ““Vajra Splitting”, is the third doorkeeper, being red with a Honhead, — (Clark p. 64). 53b, Vafraghanfa, “Valen Bell”, is Uhe fourth doorkeeper, who Is green with a wolthend, ef, 9[7]a,— (Clark p, 65), [54}a, samskara has various sigalfleations in the different parts of the Mahiyfna world, thus, “illusion” tn Nepal, “notton” in ‘Tibet, “action” in China, and in Hinaydina it signifies “diserimination”, [65}a. fa-za, with low-toned s, is a phonetically founded transcription in Tibetan of the Sanslrit word hist, The drawing of the mudya exhibits the characteristic broad sleeve-bands of the ‘Thetan series of mudras (ef, p. 84), and the appearance of such a muda at its actual place might be regarded as being erroneous, but Its text perfectly fits in with the sequence of text in I, and with the corresponding items of T and Tit, {05]b clacrma is the Tibetan transeripti mudd, ef, [65}2. 79b shyot-baki rgyat-po represents one of the four Tathagatas or supreme Buddhas, who, together with Sarvavid-Valrocana, constitute the central or primary pontade of the cycle and the mandala of Kun-rig tNam-par-snait-mdsad or Sar- vavid-Yalrocana, This emanation of Sarvavid-Vairocana corresponds to Dhyani- Buddha Aksobhya. The mantra of sPyoi-babt rgyal-po fs: Om sarvavid ham, aecording to Tucel (Indo-Tibeties, TIT. 4, p.32), ef, the mantra nr, 3{5}b. 802, rGyat-mehog-rin-chen is the second emanation of Sarvavid-Vairocana, having. the mantra: Om sarvavid phat, ef. mantra nr. 36a, ‘This emanation cor- responds to Dhyani-Buddha Ratnasambhava. 80b, Sakya rig-dbati is the third emanation of Sarvavid-Vairocana, having the mantra: Om sarvavid ab, ef, mantra nr, 36b, This emanation corresponds to Dhyani-Buddha Amitabna, 81a, Mestop-cher-rgyas, the fourth emanation of Sarvavld-Valrocana, has the mantra: Ont sarvavid tral, ef. mantra nr, 37a, ‘This emanation corresponds to Dhyani-Buddha Amoghastddha. of dharma, — With regard to theCONTRIBUTIONS TO THE STUPY OF MANDALA AND MUDRA OF 81D, sPyan-ma is the Sanskrit goddess Locant. 8[2]b. Gos-dkar-mo Is the 8. g. Paygark, 88a. sCrol-me Is the S, g, Thr, 83D. 2Do-rje-sems-dpah Is Vajrasattya, 84a, rDo-tfe-rgyal-po Is Valraraja, BAb. eDo-rje-chags-pa is Vajrardiga, 85a, rDo-rje-teys-pu is Vajrasidiu, S5b, rDo-rje-rin-ehen Ie Vajraratna, B68, rDo-rfe-gei-bucrfld Is Vajratojay. SGD. rDo-rfe-rgyat-mishan is Vajraketu, N7a. rDo-rje-blad.pa is Vajralisa, 87b, rDo-rfe-chos Is Vajradharma, 88a, rDo-rfe-rnon-po It Vajratiksna, BBD. rDo-rfe-rguut is Vajrahetu. 80a, Do-fe-smra-ta Is Vajrabhasa, 89D, rDo-rfeclas 1s Vajrakarma 08, rDo-rje-srun-ba is. Vajraraky, 0). rDo-rje-gnod-shyin Is. Vajrayalse. 91a. rDo-rjeckhu-tshar is Vajrasandhi, — Iehu-tshur Is interpreted by Chandra Das as “the clenched hand, fist”, whieh Is commented by Jiisehke In the following, way, “Unls signification, however, seemed not to be known to the Lanias consulted, who Inferpreted Wie word: a religious gesture, the forefinger being raised”, Ev- dently, the lamas hereby roforred to the (arjant-mudra, the mudra of menace, OLD, sGey-mo-mu Is the Sanskrit goddess Lasya, 2a. hPhren-bacma Is the S, g. Malt. 92), Glu-ma is the S.g GItA, ef. p. 93. 93a. Gar-ma ts the S. 4. Nrtya.— naii-gi-pi Is probably an abbreviation of nial sbylu-pa, 93b. bDug-spos-ma Is the S. g, Dhil 4a, Mestop-ma ts the 8. g. Paspa, 4b. Mar-me-ma, “goddess of butter-fre” correspa amps”, of, 04, 950, Dri-chat-ma ts the S. g, Gandhi 95D, rDo-rfecleags-hytt Is the doorkeoper Vajrankus, 9{7]a. rDoorje-be-pa stands for rDo-rje hbebs-pa, 8. Vafravesi, Frequently the fourth doorkeeper is called rDo-rje drll-bu, S, Vajraghai{a. 9{7]b. byeun-pue possibly stands for Byams-pa, “the loving on to Mattroya, Is to Dipa, “goddess of ‘with an allusion