Essence of the Dharmadhātu

Dr Uday Dokras
Featuring Dharmadhatu on Borobudur Reliefs
Commentary on the Noble Essence of Dharmadhātu composed by Ācārya Nāgārjuna.

The Wheel of Existence

Courtesy of Himalayan Art Resources

Commentary on the Noble Essence of the Dharmadhātu

by Nāgārjuna

In the language of India: Ārya-dharmadhātu-garbha-vivaraṇa

In the language of Tibet: 'phags pa chos kyi dbyings kyi snying po'i rnam par 'grel pa
In the English language: Commentary on the Noble Essence of the Dharmadhātu

Homage to the Three Jewels!

It is said:

Those phenomena that originate from causes,

The Tathāgata has proclaimed these causes,

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And also that which puts a stop to these causes,
This too has been taught by the Great Śramaṇa.
Here, "those phenomena" should be understood as sevenfold: 1) consciousness, 2) name and
form, 3) the six sensory sources, 4) contact, 5) sensation, 6) birth, and 7) old age and death.

These phenomena are said to "originate from causes", since they arise due to five factors.
What are these five causes? They are 1) ignorance, 2) craving, 3) clinging, 4) formations, and
5) becoming.

The cessation of these seven and their five causes is what is meant by "these causes and also
that which puts a stop to these causes." This is also referred to as pacification, liberation and
nirvāṇa.

Who has explained this? The Tathāgata has proclaimed this, which is to say that he has
explained it. He is the Tathāgata (Thus-gone), since he has realized reality just as it is. He is
also the Tathāgata since he unerringly teaches others how things are. One who teaches in
such a manner is one who possesses such learning, one who reveals this path having realized
it for himself. He is great, which means foremost, excellent, sublime and supreme. Great also
describes someone who is wise, valiant, ascetic, enthusiastic, intensely diligent, and engaged
in wondrous activity. In this case, since he knows all that is to be known, he is wise; since he
has vanquished all afflictions, he is valiant; since he has perfectly cultivated ethical
discipline, he is ascetic; since he does not tire of qualities and so on, he is enthusiastic; he has
the intense diligence of one whose hair or head is aflame; and he has made manifest
wondrous qualities and thus carries out wondrous activity. Such a one is great.

He is called a śramaṇa because he has pacified misdeeds and afflictions. He is a brahmin

because he has abandoned all misdeeds; he is a śramaṇa because he has eliminated the fatigue
(śrama; ngal ba) brought on by afflictions; and he is a renunciant since he has removed the
impurities of selfhood. It is the Blessed One who has such qualities who taught this. The
same applies for the truths of suffering, origination, cessation and the path.

Here, it is from the cause, ignorance, that formations and the rest, up to old age and death,
arise without an agent. This is the progressive sequence. Knowledge that the causes,
ignorance and the rest, have ceased is known as the sequence of reversal. Countering
ignorance prevents the formations and the rest from arising. It is the Great Śramaṇa who
teaches this.

In Mahayana Buddhism, dharmadhātu means "realm of phenomena", "realm of eternal

truth". It is referred to by several analogous terms from Mahayana Buddhist philosophy, such
as Tathata (Reality "as-it-is"), emptiness, dependent co-arising and eternal Buddha. It is
associated with supreme cosmic buddha Vairocana and is the "deepest nature, or essence".
[
Dharmadhātu is the purified mind in its natural state, free of obscurations. It is the essence-
quality or nature ofmind, the fundamental ground of consciousness of the trikaya, which is
accessed via the mindstream. When the buddha-nature has been realised, dharmadhātu is also
referred to as the Dharmakāya, the Body of Dharma Truth.
Kang-nam Oh traces the origin of dharmadhatu to the Avatamsaka Sutra. It has been further
developed by the Hua-yen school:
This idea of dharmadhātu-pratītyasamutpāda which was originally found in the Avataṁsaka-
sūtra or Hua-yen ching, was fully developed by the Hua-yen school into a systematic doctrine

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palatable to the Chinese intellectual taste. The dharmadhātu doctrinecan be said to have been,
by and large, set forth by Tu-shun (557~640 C.E.), formulated by Chih-yen (602~668),
systematized by Fa-tsang (643~712), and elucidated by Ch’eng-kuan (ca. 737~838)
and Tsung-mi (780~841)
Indian Buddhism-Śrīmālādevī Sūtra
The Śrīmālādevī Sūtra (3rd century CE[), also named The Lion's Roar of Queen Srimala,
centers on the teaching of the tathagatagarbha as "ultimate soteriological principle".[4] It states
that the tathagata-garbha is the "embryo" of the Dharmadhatu and the Dharmakaya:
Lord, the Tathagatagarbha is neither self nor sentient being, nor soul, nor personality. The
Tathagatagarbha is not the domain of beings who fall into the belief in a real personality, who
adhere to wayward views, whose thoughts are distracted by voidness. Lord, this
Tathagatagarbha is the embryo of the Illustrious Dharmadhatu, the embryo of
the Dharmakaya, the embryo of the supramundane dharma, the embryo of the intrinsically
pure dharma.
In the Śrīmālādevī Sūtra, there are two possible states for the Tathagatagarbha:
[E]ither covered by defilements, when it is called only "embryo of the Tathagata"; or free
from defilements, when the "embryo of the Tathagata" is no more the "embryo" (potentiality)
but the Tathāgata (=the Dharmakaya)(actuality).
The sutra itself states it this way:
This Dharmakaya of the Tathagata when not free from the store of defilement is referred to as
the Tathagatagarbha.
Dharmadhātustava[
The Dharmadhātustava ("In praise of the Dharmadhatu"), attributed to Nāgārjuna though
questioned, is a treatise on the dharmadhatu. According to the Dharmadhātustava, the
dharmadhatu is the ground which makes liberation possible:
The dharmadhatu is the ground
For buddhahood, nirvana, purity, and permanence.
According to the Dharmadhātustava, the dharmadhatu is seen when the afflictions are
purified:
As butter, though inherent in the milk,
Is mixed with it and hence does not appear,
Just so the dharmadhatu is not seen
As long as it is mixed together with afflictions.

And just as the inherent butter essence

When the milk is purified is no more disguised,
When afflictions have been completely purified,
The dharmadhatu will be without any stain at all
Chinese Buddhism-Mahaparinirvana Sutra
In the Mahayana Mahaparinirvana Sutra, the Buddha states of himself that he is the
"boundless Dharmadhatu" - the totality itself.
Tibetan Buddhism

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 Five Wisdoms
The Dharmadhatu is comprehended by one of the Five Wisdoms:

1. Dharmadhātu wisdom,
2. Mirror-like wisdom,
3. Equality wisdom,
4. Discriminating wisdom,
5. All-accomplishing wisdom
What is the difference between Dharmakaya and Dharmadhatu?
Dharmadhatu is the cosmos. It comprises all phenomena. And sometimes it is considered to
be a “body”. Dharmakaya means the body of the Dharma.

Borobudur, Java, illustrating the Gandavyuha Sutra, which tells about the Bodhisattva
Sudhana and his search for Awakening by questioning 53 Masters, together with further
information.

Level 2, Level 4,
Level 3,
Inner Wall, Level 3, Inner Wall, Balustrade, Level 4, Inner Wall,
Balustrade,
Meetings Maitreya reveals Maitreya, The Aspiration to the Good
Maitreya’s
with Spiritual the Dharmadhātu Mañjuśrī and Life
Good Deeds
Friends Samantabhadra
Reliefs on this Level:
East Wall South Wall West Wall North Wall East Wall

Level 3, Inner Wall-Maitreya reveals the Dharmadhātu-East Wall (Center to South)

1. Sudhana respectfully salutes Maitreya
In the first relief on the inner wall of Level 3 we see Sudhana raising his hands in respectful
salutation to Maitreya, who will be his most important spiritual friend. His meeting with
Maitreya is depicted on three walls, and 260 reliefs at Borobudur.
It is a simple relief, with Sudhana standing, holding his hands in añjali, and around him are
some of his companions. Maitreya sits inside a pavilion, and has his hand raised in blessing,
or it may be he is praising Sudhana.

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 01 Sudhana respectfully salutes Maitreya

2. Maitreya praises Sudhana

At this point in the text Sudhana speaks fifty-five verses in praise of Maitreya and the Great
Tower containing the Chamber of the Adornments of Vairocana, and Maitreya repsonds with
a hundred and twenty-two verses in praise of Sudhana and his dedication to Awakening.
Maitreya is sitting with his hands holding the teaching posture, and Sudhana is listening
respectfully, with a lotus held between his hands. Behind his companions stands an elephant
who will reappear in many of the scenes.

02 Maitreya praises Sudhana

3. Sudhana requests entry to the Tower

Sudhana requests Maitreya to let him enter the Tower, which is where he will finally be able
to find answers to his questions about the right path for a Bodhisattva, and will also discover
the nature of reality.
Maitreya sits in the pavilion with his hands held in blessing while Sudhana respectfully
makes his request. The elephant is again seen in this relief. On the far left of the relief the
Tower is pictured.

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 03 Sudhana requests entry to the Tower

4. Maitreya opens the Tower

Maitreya now decides to grant Sudhana his wish, approaches the tower and with a snap of his
fingers the doors open.
The expression on Maitreya’s face in this panel is sublime. Behind him Sudhana sits with his
legs crossed, and his companions line up behind him. Again we see the elephant amongst the
companions.

04 Maitreya opens the Tower

5. Maitreya invites into the Tower

In this panel we again see Maitreya sitting in a decorated pavilion, from where he is inviting
Sudhana, who stands next to him, into the Tower, which is pictured on the far left.
Sudhana appears to be approaching the building, and turning back to look at Maitreya one
last time.

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 05 Maitreya invites into the Tower

6. Sudhana climbs the Tower Stairs

In this rather cramped panel Sudhana accepts Maitreya’s invitation, walks up to the Tower
and begins his entrance into the building.
This whole sequence of panels from 1-6 is illustrating just one sentence in the text, with each
action illustrated: respect, request, approach, finger-snapping, invitation and entrance.

06 Sudhana climbs the Tower Stairs

7. Sudhana pays Respect to the Tower

We now have a series of reliefs (7-19) that are hard to account for and seem to be out of
sequence. As they contain characters that only reappear much later in the story they may be a

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prefiguration of things to come, though why they are placed here is unclear.In the previous
panel we saw Sudhana entering the Tower, but here he is outside again, and paying his
respects to the Tower, as he did at the end of the inner wall on level 2.

07 Sudhana pays Respect to the Tower

8. Maitreya instructs Sudhana

Maitreya, recognisable by the stūpa in his crown, is once again sat in a pavilion, and is
holding the Dharma-cakra-mudrā, which is a sign of teaching.
Sudhana is seen on his knees and slightly bending in towards the teacher, holding his hands
in reverential salutation, with his companions behind him. On the upper left of the panel we
also see the gods looking on.

08 Maitreya instructs Sudhana

9. Maitreya teaches Sudhana

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Again we see Maitreya in a decorated pavilion. The relief is rather worn, but he appears to be
teaching. Sudhana is sitting outside and listening, as are his companions.
We see the elephant behind the companions, which may be signifying they are about to go on
a journey, although in other reliefs it is hard to give it this meaning.

09 Maitreya teaches Sudhana

10. Sudhana travels in a Palanquin

The sculptors at Borobudur were very good at illustrating procession scenes, and they are
always very dynamic.
Here we see Sudhana being carried on a palanquin, and looking back as he processes
forward. Behind is an elephant once more, and in front people go before.

010 Sudhana travels in a Palanquin

11. Sudhana meets again with Mañjuśrī

In this panel it is Mañjuśrī who is sat in the pavilion, although his normal attributes are not
illustrated. Someone leans in towards him as though listening to his teaching.

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Behind, it seems someone is picking nuts from the coconut tree, and on the far left is a very
elaborate building. Because we do not know what text is illustrated we cannot completely
understand the scene.

011 Sudhana meets again with Mañjuśrī

South Wall

12. Sudhana meets again with Mañjuśrī

Again this is Mañjuśrī in the pavilion, but this time he has the crescent behind his head which
helps identify him. The seat is a siṁhāsana, a lion throne. There are devotees sat on either
side on him.
Sudhana is seen holding the lotus flower as an offering for his teacher, and in the sky we see
the devas who have gathered round to witness the events taking place below.

012 Sudhana meets again with Mañjuśrī

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 13. Sudhana pays Homage to a Building
In the centre of this relief is seen a very elaborate building, or palace. I am unsure what the
building is, Fontein thinks is a Bodhimaṇḍa, or site of Awakening.
On the right of the relief sits Samantabhadra in a pavilion, with his devotees about. Sudhana
is seen worshipping the building respectfully on the left.

013 Sudhana pays Homage to a Building

14. Sudhana pay Homage to a Buddha

In the centre of the relief is a Buddha sitting inside a pavilion in meditation posture. It is
Sudhana on the right, with his hands folded in respectful salutation, and his companions
behind him, and it seems we might have Samantabhadra on the left with his companions. We
see kinnaras and a peacock above the tree on the right.

014 Sudhana pay Homage to a Buddha

15. A Brahmin visits a Royal Couple

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A royal couple sit in a palace in the centre of the relief: notice the pots beneath them
indicating their wealth. On the right sits a brahmin with a few others. Under the tree on the
left are womenfolk holding gifts. We do not know what story this relief is associated with.

015 A Brahmin visits a Royal Couple

16. Sudhana respectfully salutes Samantabhadra

This is the first of three panels dedicated to meetings with Samantabhadra, who here sits in
princely fashion with a belt supporting his knee inside the pavilion on the right of the panel.
Sudhana, with bowed head, holds his hands in respectful salutation on the left.
One of his companions holds a parasol above him. There is also a giant leaf behind one of the
companions, which may also have been used as a parasol.

016 Sudhana respectfully salutes Samantabhadra

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 17. Sudhana comes to Samantabhadra
Samantabhadra is again sitting in princely fashion inside a pavilion, somewhat right of centre
in the panel.
Sudhana is left of the parasol and appears to be moving forward. Around are some of his
companions.

017 Sudhana comes to Samantabhadra

18. Sudhana meets Samantabhadra

Both Sudhana and Samantabhadra are seen inside pavilions in this relief, with the latter’s
being raised higher. Samantabhadra is sitting on an inverted lotus, as we often see with
Buddhas and Bodhisattvas at Borobudur.
To left and right are various other folk, many carrying offerings, and above left we see
the devas who are watching from above the clouds.

018 Sudhana meets Samantabhadra

19. A Visit to a Bodhisattva

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In all probability this is again Samantabhadra sitting in the pavilion, though he lacks his
normal attributes.
Sudhana is also sitting in a pavilion, and has his arms folded. Many devotees are behind him,
some of whom are bringing gifts. Devas abound in the sky.

019 A Visit to a Bodhisattva

The next sequence (20-39) illustrate a group of compounds from the text, describing the
inside of the Great Tower containing the Chamber of the Adornments of Vairocana.
In each of the following 20 panels a different tower is shown, this is because they are
replicated by the thousands throughout the universe, and each panel is showing one of these
towers and one of the decorations.It has been suggested that these panels form an aid to
meditation in that they can be used to build up a picture of the Tower in much the same way
that a dieity’s maṇḍala can be constructed during meditation.
20. Parasols, Flags and Banners in the Tower
So ’drākṣīt taṁ Kūṭāgāraṁ vipula-vistīrṇaṁ bahu-yojana-śata-sahasra-vistīrṇaṁ
gagana-talāpramāṇaṁ samantād-ākāśa-dhātu-vipulam asaṁkhyeya-cchatra-dhvaja-
patākālaṁkāram; He saw the Tower, wide and spacious, many hundreds of thousands of
leagues wide, as immeasurable as the sky, as wide as the space element on all sides,
decorated with an uncountable number of parasols, flags and banners.
Parts of the relief are unclear, Sudhana appears in all of them looking on at the Tower. In this
one he is sitting to the right of the Tower with the parasol above him, and his companions –
and the elephant – behind him.

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 020 Parasols, Flags and Banners in the Tower

21. Tinkling Bells in the Tower

Asaṁkhyeya-ratna-kiṅkiṇī-jāla-samīrita-manojña-śabdālaṁkāram; Decorated with an
uncountable number of the best tinkling bells which sounded in the breeze delighting the
mind.
Here Sudhana is seen standing, while his companions, including a brahmin, are sitting behind
him. Bells are seen hanging from the Tower. Notice the slats that hang from them causing the
bells to tinkle in the wind like wind-chimes.

021 Tinkling Bells in the Tower

22. A Soundless Bell in the Tower

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Asaṁkhyeya-ghaṇṭā-madhura-nirghoṣālaṁkāram; Decorated with an uncountable
number of bells which made no sound.
In this rather cramped relief we see Sudhana kneeling under what is evidently a Bodhi tree
(ficus religiosa). The Tower contains one large bell and a couple of small ones.

022 A Soundless Bell in the Tower

23. Divine Garlands

Asaṁkhyeya-divya-mālya-dāmābhipralambitālaṁkāram; Decorated with an uncountable
number of divine garlands and chaplets hanging down.
Sudhana is seen centre frame with a brahmin in front of him, and companions around. Above
him are elaborate garlands, but oddly no Tower is illustrated in this relief.

023 Divine Garlands

24. Flowers Raining Down in the Tower

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Asaṁkhyeya-divya-puṣpaughābhipravarṣaṇālaṁkāram; Decorated with an uncountable
number of divine flowers raining down like a flood.
Sudhana is standing on the right of the relief, before a very large and magnificent Tower. The
companions are spread around him and there are devas looking on from the skies. There are
garlands and flowers all round.

024 Flowers Raining Down in the Tower

25. Incense Bowls in the Tower

Asaṁkhyeya-gandha-ghaṭikānirdhūpitopacārālaṁkāram; Decorated with an
uncountable number of ceremonial bowls of incense and fragrances.
Sudhana is kneeling on the right under the parasol, with some companions behind him,
including one holding a giant leaf. More companions are on the left, which also includes the
elephant. The devas carry incense burners in the sky.

025 Incense Bowls in the Tower

26. Arches and Turrets in the Tower

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Asaṁkhyeya-toraṇālaṁkāram, asaṁkhyeya-niryūhālaṁkāram; Decorated with an
uncountable number of arches and an uncountable number of turrets.
Sudhana is seen standing, while his companions are sitting behind him, and on the left of the
panel. In the skies the gods look on.

026 Arches and Turrets in the Tower

27. Circular Mirrors in the Tower

Asaṁkhyeyādarśa-maṇḍalālaṁkāram; Decorated with an uncountable number of circular
mirrors.
Sudhana is sat to the right of the Tower looking back at his companions, circular mirrors are
seen hanging in many places, and, as is usual in this sequence, the devas look on from above.

027 Circular Mirrors in the Tower

28. A Bejewelled Altar in the Tower

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Asaṁkhyeya-ratna-cchadana-sarva-vyūhālaṁkāram; Decorated with an uncountable
array of the best awnings.
A smaller end panel shows Sudhana standing under a parasol, with his companions at his
feet. In the centre is a bejewelled altar.

028 A Bejewelled Altar in the Tower

29. Cloud-like Vestments

Asaṁkhyeya-ratna-vastra-meghālaṁkāram; Decorated with an uncountable number of
the best cloud-like vestments.
Again the sculptors did not include the Tower, but the cloths falling down from the clouds are
in abundance. Sudhana sits on a raised seat and seems to be in conversation with the brahmin
at his feet.

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 029 Cloud-like Vestments

30. Bejewelled Trees in the Tower

Asaṁkhyeya-ratna-vṛkṣālaṁkāram; Decorated with an uncountable number of bejewelled
trees. A large bejewelled tree is seen in the middle of the relief, with strings of pearls and
other jewels hanging from it. Sudhana is sat on the right, and a number of his companions
hold their hands in añjali.

030 Bejewelled Trees in the Tower

31. Cloths in the Tower

Asaṁkhyeya-ratna-paṭṭālaṁkāram; Decorated with an uncountable number of the best
cloths.
In the sky and around the Tower we see a large collection of cloths again. Fontein identifies
these as banners. Sudhana is to the right of the Tower, while his companions are on all sides.

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 031 Cloths in the Tower

32. Lion Standards in the Tower

Asaṁkhyeya-siṁha-dhvajālaṁkāram; Decorated with an uncountable number of lion
standards.
Sudhana sits on the right of the relief and looks back at his companions, one of whom holds
the parasol over him.

032 Lion Standards in the Tower

33. Banana Trees in the Tower

Asaṁkhyeya-jāmbūnada-suvarṇa-varṇa-kadalī-stambha-suvibhaktālaṁkāram; Decorat
ed with an uncountable number of golden coloured and well-proportioned banana trees.

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Banana trees seem to be planted around and inside the Tower, and a bunch of bananas hang
down on the left of the panel. Sudhana is standing, as are many of his companions.

033 Banana Trees in the Tower- West Wall

34. Mind-produced Bodhisattvas in the Tower

Asaṁkhyeya-Bodhisattvātma-bhāvālaṁkāram; Decorated with an uncountable number of
mind-produced Bodhisattvas.The Bodhisattvas sitting inside the Tower here are probably
meant to illustrate the mind-made Bodhisattvas of the text. Sudhana, whose head is now
missing, sits on a lower seat with the parasol over him.

034 Mind-produced Bodhisattvas in the Tower

35. Singing Birds in the Tower

Asaṁkhyeya-pakṣi-gaṇa-vicitra-manojña-rutānuravitālaṁkāram; Decorated with an
uncountable number of flocks of beautiful birds, that delighted the mind with their singing.

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The whole of the top of the relief is filled with flocks of birds, sitting on the clouds,
like devas. Sudhana is stood to the right of the building, as are many of his companions.

035 Singing Birds in the Tower

36. Lotuses in the Tower

Asaṁkhyeya-ratna-padmālaṁkāram; Decorated with an uncountable number of the best
lotuses.
Sudhana is sat on the right of the pavilion, and is holding lotuses for offering. All around we
see other lotuses offered by other devotees, hanging from the trees, in the skies, etc. In the
centre is what appears to be an altar.

036 Lotuses in the Tower

37. Pearl Necklaces in the Tower

Asaṁkhyeya-ratna-yaṣṭi-saṁdhāraṇālaṁkāram; Decorated with an uncountable number
of pearl necklaces.
As in the previous relief we see pearls, both large and small, being offered and hanging from
the trees, etc. Sudhana stands on the right, and at his feet a devotee holds a parasol over him.

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 037 Pearl Necklaces in the Tower

38. Lotus Ponds in the Tower

Asaṁkhyeya-puṣkariṇyalaṁkāram; Decorated with an uncountable number of lotus
ponds.
A very elaborate building decorated with lotus ponds stands in the middle of the relief.
Sudhana sits on the right, with his companions behind him. Gods are seen in the sky.

038 Lotus Ponds in the Tower

39. Gems and Jewels in the Tower

Asaṁkhyeya-mahā-maṇi-ratna-prabhā-pramuktālaṁkāram; Decorated with an
uncountable number of great gems and radiant jewels.

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A large array of gems and jewels are seen hanging on a building which covers much of the
relief. Sudhana is sat on the lower right in an antechamber.

039 Gems and Jewels in the Tower

We now have a long series of panels (40-75) in which Sudhana’s visions of Maitreya, his
history and works are illustrated. Unfortunately it is not always possible to identify what we
are looking at on each panel, but there are sufficiently clear identifications to be sure of the
general outline. Sudhana is first given a vision of hundreds of thousands of other Towers,
within the one he has entered. We should remember that after Sudhana entered the Tower the
doors closed after him and Maitreya was left outside. It is Sudhana’s visions that are now
being illustrated.
40. Maitreya’s Aspiration in the Tower
Kvacit-kūṭāgāre yatra Maitreyeṇa Bodhisattvena prathamaṁ praṇidhāna-cittam-
utpāditam-anuttarāyāṁ Samyak-Saṁbodhau; In one tower the first aspiration arose in the
mind of the Bodhisattva Maitreya for the unsurpassed Complete Awakening.
This first relief we can probably take as Maitreya making his initial aspiration to become a
Buddha. Maitreya is sat on a raised throne, and Sudhana sits listening intently.

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 040 Maitreya’s Aspiration in the Tower

41. Maitreya radiates Loving-Kindness

Kvacit-kūṭāgāre yatra Maitreyeṇa Bodhisattvena prathamo maitra-samādhiḥ
pratilabdhaḥ; In one tower the Bodhisattva Maitreya first attained the concentration of
loving-kindness.Maitreya sits in meditation within a large pavilion, and is evidently in
absorption. Sudhana is seen sitting under the parasol on the right, with his companions behind
him.

041 Maitreya radiates Loving-Kindness

42. Maitreya Teaching

Despite a lack of the normal attributes seen in this relief I believe it must be Maitreya
teaching in the pavilion, and Sudhana looking on with his hands held in reverence on the
right.
Note the devotee on the left of the pavilion with a large fan, and the devas on either side of
the pavilion.

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 042 Maitreya Teaching

43. Maitreya Meditating

Again Maitreya is seen sitting in meditation posture (dhyāna-mudrā). Sudhana sits cross
legged on the right, holding a lotus, with his companions behind him.
On both left and right are seen very finely drawn stylised trees, with garlands hanging from
them, and above them are devas on either side of the pavilion holding plates of
offerings. Kinnaras sit in the tree on the left.

043 Maitreya Meditating

44. Maitreya distributing Gifts

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In this narrow panel we see Maitreya distributing gifts to people who have lined up with their
hands extended in supplication. Behind him are his helpers who carry the gifts he will hand
out.Sudhana is standing on the right, as he watches the scene unfold. As mentioned, this is
part of the visions that Sudhana is having inside the Tower.

044 Maitreya distributing Gifts

45. Maitreya pays Homage to a Buddha

In this scene we see Sudhana looking on from the far right as Maitreya pays homage to the
Buddha, who is holding his hands in a blessing gesture (vara-mudrā). Maitreya is
accompanied by other Bodhisattvas in this act of worship.

045 Maitreya pays Homage to a Buddha

46. Maitreya in Meditation

28
Maitreya is again pictured sitting in meditation (dhyāna), in a classical posture. Sudhana sits
on the right of the pavilion, holding a lotus, and with a parasol over him.
Many others, both on the right and on the left, are gathered around witnessing the scene,
including the devas in the sky.

046 Maitreya in Meditation

47. Maitreya carries out Austerities

Standing on one leg only in the middle of the panel is Maitreya who is carrying out austere
practices such as are still seen amongst yogis in India to this day. Below him two fires are
depicted, perhaps a further austerity.
Sudhana kneels before him on the right, and other companions and devotees gather round,
some holding flowers as offerings.

047 Maitreya carries out Austerities

48. Maitreya in Meditation

29
This is another relief showing Maitreya meditating, there was presumably some reason for
showing the same scene time and again, but we have lost to key to explain it.
Sudhana holds a flower he is offering to the Bodhisattva, and others also have floral
offerings, including the gods in the sky.

048 Maitreya in Meditation

49. Maitreya Teaching

Maitreya sits in teaching posture (vitarka-mudrā) and is evidently expounding the Dharma,
while the others listen.
Interestingly one character behind Sudhana is holding a book, and another character on the
left has leaves of a palm-leaf book in his hand, emphasising the teaching theme of this relief.

049 Maitreya Teaching

50. Maitreya with a Procession

30
Sudhana is sat on the floor on the right and is looking on as Maitreya walks along with a
religious procession.People are holding banners and playing musical instruments, and the
whole procession is being led by an elephant.

050 Maitreya with a Procession

51. Maitreya worships a Buddha

Maitreya is depicted as respectfully worshipping a Buddha, who is sat in blessing posture. On
the left are seen various monastics. I do not see Sudhana in this scene and I do not know why
he is absent.

051 Maitreya worships a Buddha

52. Maitreya in Meditation

Maitreya, who is sat absorbed in meditation in this relief, has a particularly sublime look on
his face.

31
Sudhana is on his knees, with his hands pressing on the floor in front of him, his companions
are behind him, sat under a large leaf parasol.

052 Maitreya in Meditation

53. Maitreya Teaching

Maitreya sits on an upturned lotus seat inside a beautiful pavilion, and is holding the teaching
position.
Sudhana and his companions are on the right, and one holds a plate of lotuses in offering.
Others around are also offering lotuses, a symbol of purity.

053 Maitreya Teaching

54. Maitreya Blessing

Fontein identifies this as a preaching scene, but it seems that Maitreya is in fact giving a
blessing to Sudhana who is on his knees in front of him. Unfortunately Sudhana’s face has
been lost from the relief.
Again devotees on the left of the panel holds plates of flowers in offering to the Bodhisattva.

32
 054 Maitreya Blessing

55. Maitreya respects a Buddha

A Buddha sits in the pavilion and is engaged in teaching the Dharma. Maitreya is kneeling on
the right, with his hands held in añjali.
On the left we also see some monastics (bhikṣus), as well as some rich devotees. I do not see
Sudhana amongst the figures in this relief.

055 Maitreya respects a Buddha

North Wall

56. Maitreya Teaching

Maitreya is sat cross legged and is holding a palm leaf book in his two hands, though he is
apparently not reading from it, as we see the covers, not the pages.
Sudhana is sat on the right with his companions behind him. On the left a devotee holds
flowers for an offering, and in the sky the devas look on at the scene below.

33
 056 Maitreya Teaching

57. Maitreya Teaching

Fontein suggest this is a preaching scene, and it may well be so, though the gesture Maitreya
is making is not clearly one of teaching. Notice the pillars of the pavilion are marked with
lions, and further up they are supported by human-like figures.
Sudhana is seen standing in this scene, and there is the usual gathering of devotees and gods
spread around.

057 Maitreya Teaching

58. Maitreya respects a Buddha

A Buddha is seen sitting is teaching position in the middle and on the left Maitreya is
witnessing the scene. Sudhana looks on from the right, and the usual congregation gathers
round, one of whom is wafting incense around the Buddha.
We now come to sure ground again as we can match the reliefs to the words in the text for
the reliefs more or less till the end of the wall. In the first part of the text Sudhana sees

34
Maitreya take on various forms in order to teach the people Dharma. The list ascends from
gods on earth through to gods in the highest heavens.

058 Maitreya respects a Buddha

59. Maitreya as a Universal Monarch

Sa kvacit-kūṭāgāre Maitreyaṁ Bodhisattvaṁ Cakra-varti-rāja-bhūtaṁ sattvān daśasu
kuśaleṣu karma-patheṣu pratiṣṭhāpayamānam-apaśyat; (Sudhana) saw in one tower the
Bodhisattva Maitreya in the form of a Universal Monarch establish beings in the ten paths of
wholesome deeds.
In the first of this series Maitreya appears as a Universal Monarch. An elephant, a horse, and
two standards above them, one with a Wheel, and the other with a jewel make this
idenitification certain.

059 Maitreya as a Universal Monarch

60. Maitreya as a Guardian of the World

Kvacil-Lokapāla-bhūtaṁ sarva-loka-hita-sukhaṁ sattvānām-upasaṁharamāṇam; In
another (he saw Maitreya) in the form of a Guardian of the World providing beings in the
whole world with happiness and benefit.

35
Maitreya sits holding the blessing gesture in the pavilion, while Sudhana looks on from
outside, and his companions appear to discuss the events. Unfortunately Sudhana’s face has
again broken off in this relief.

060 Maitreya as a Guardian of the World

61. Maitreya appears as Śakra

Kvacic-Chakra-bhūtaṁ kāma-guṇa-ratiṁ sattvānāṁ vinivartayamānam; In another (he
saw Maitreya) in the form of Śakra turning beings away from delight in the strands of sense
pleasure.
Maitreya has here taken the form of a Śakra god who rules over the Heaven of the Thirty-
Three. Sudhana and his companions sit outside on the right.

36
 061 Maitreya appears as Śakra

62. Maitreya appears as Suyāma

Kvacit-Suyāma-devādhipati-bhūtam-apramāṇa-guṇān sattvānāṁ
saṁvarṇayamānam; In another (he saw Maitreya) in the form of Suyāma, the Lord of the
(Yāma) Gods, praising the virtue of the immeasureable (meditations: friendliness, kindness,
gladness and equanimity) to (all) beings. Maitreya is seen inside the pavilion in teaching
posture, while Sudhana is kneeling under the parasol on the right.

062 Maitreya appears as Suyāma

63. Maitreya appears as Saṁtusita

Kvacit Saṁtuṣita-deveśvara-bhūtam-eka-jāti-pratibaddha-Bodhisattva-
guṇānudbhāvayamānam; In another (he saw Maitreya) in the form of Saṁtusita, the Master
of the (Tusita) Gods, developing the virtues of the Bodhisattvas bound to (attain in) one

37
lifetime.An elaborate scene, with Saṁtusita at the centre, Sudhana and his companions on the
right, and other devotees on the left.

063 Maitreya appears as Saṁtuṣita

64. Maitreya appears as Sunirmita

Kvacit-Sunirmita-deva-rāja-bhūtaṁ sarva-Bodhisattva-nirmāṇa-vyūhaṁ deva-parṣadi
saṁdarśayamānam; In another (he saw Maitreya) in the form of Sunirmita, the King of the
Gods (who Delight in Creation), showing a company of the gods the whole array of creative
Bodhisattvas.
Here Maitreya takes on the form of Sunirmita, and sits in the pavilion, while Sudhana holds a
lotus flower in offering on the right.

064 Maitreya appears as Sunirmita

65. Maitreya as the King of the Vaśavarti Gods

Kvacid-Vaśavarti-deva-rāja-bhūtaṁ sarva-dharma-vaśavartitāṁ devānāṁ
saṁprakāśayamānam; In another (he saw Maitreya) in the form of the King of the
Vaśavarti Gods, explaining to the gods the whole idea of wielding power over others’
creations.

38
The King of the Vaśavarti Gods is also called Māra. Here he sits in the pavilion with Sudhana
listening careful on his right. It may be the dancing girls on the left of the panel are meant to
represent Māra’s daughters, but why only two are portrayed, and not three, would then be
unclear.

065 Maitreya as the King of the Vaśavarti Gods

66. Maitreya as Māra

Kvacin-Māratvaṁ kārayamāṇam sarva-saṁpatty-anityatāṁ devānāṁ
deśayamānam; In another (he saw Maitreya), having become Māra, teaching the gods the
impermanence of all states.
Māra sits in an ornate pavilion and is evidently teaching. His listeners are confined to two
personages on the left. Sudhana and his companions look on from the right of the panel.

066 Maitreya as Māra

67. Maitreya teaches in the Brahmaloka

Kvacid-Brahma-bhūtaṁ dhyānāpramāṇa-ratiṁ sattvānāṁ saṁvarṇayamānam; In
another (he saw Maitreya) in the form of Brahmā praising delight in meditation on the
immeasureable (meditations: friendliness, kindness, gladness and equanimity) to (all) beings.

39
Maitreya is again evidently teaching, with other gods looking on from above. Sudhana is sat
– unusually – on the left. In the relief Maitreya appears not as a god, but as himself.
In the next sequence Maitreya teaches Dharma in his own personage to various classes of
beings from the lowest to the highest levels of existence.

067 Maitreya teaches in the Brahmaloka

68. Maitreya teaches the Asuras
Kvacid-Asurendra-bhavanopapannaṁ sarva-māna-mada-darpa-prahāṇāya mahā-
jñāna-sāgara-vigāhanāya… Asura-parṣadi Dharmaṁ deśayamānam-apaśyat; In another
he saw (Maitreya) in the form of the Ruler of the Asuras teaching Dharma to the assembly of
Asuras so they might abandon conceit, pride and arrogance, and enter into the ocean of great
knowledge… etc. It is interesting that the representation of the Asuras on the left of the panel
makes them similar to the way brahmins are portrayed elsewhere! Maitreya, in his own guise,
is teaching in the pavilion. Three Bodhisattvas sit in their own pavilion, while Sudhana and
his companions look on from the right.

068 Maitreya teaches the Asuras

69. Maitreya relieves those in Hell

Kvacit-kūṭāgāre Yama-lokam-adrākṣīt, tatra Maitreyaṁ Bodhisattvaṁ prabhayā Mahā-
narakānavabhāsya Narakopapannānāṁ sattvānāṁ sarva-niraya-duḥkhaṁ praśamayamānam-
adrākṣīt; In another Tower he saw the world of the dead, and there he saw the Bodhisattva Maitreya

40
relieving all the suffering of the downfall for beings who had been reborn in hellish torment by
shining forth over the great hell.
Maitreya appears on the far left, and is curiously looking straight out and not at the beings requesting
help in the middle. In the second pavilion sits Yāma, who rules the lower worlds. Note that the leaves
of the tree are in the shape of swords.

069 Maitreya relieves those in Hell

70. Maitreya gives Food and Drink to the Departed

Kvacit-kūṭāgāre preta-bhavanam-adrākṣīt, tatra Maitreyaṁ Bodhisattvaṁ preta-
bhavanopapannānāṁ sattvānāṁ vipulam-anna-pānam-upasaṁhṛtya kṣut-pipāsāṁ
praśamayamānam-adrākṣīt; In another Tower he saw the world of the departed, and there
he saw the Bodhisattva Maitreya relieving hunger and thirst by distributing large quantities of
food and drink to the beings in the realm of the departed. Maitreya is seen handing a pot to
the hungry pretas who beseech him for help, some of whom appear to be little more than
skeletons. A locked pavilion is seen on the left, which has stūpas atop it. Sudhana sits
watching the scene from the right.

070 Maitreya gives Food and Drink to the Departed

71. Maitreya teaches the Animal World

Kvacit-kūṭāgāre tiryagyonau vividhopapatyāyatana-vimātratayā tiryagyoni-gatān sattvān
vinayantam-adrākṣīt; In another Tower he saw (Maitreya) guiding an unequalled and manifold
number of beings reborn in the animal world.

41
This is probably one of the most successful illustrations on the wall. Sudhana stands on the right.
Maitreya sits in a pavilion and pairs of animals of all kinds, including elephants, lions, deer, buffalo
and others, gather round to hear his teaching.

071 Maitreya teaches the Animal World

72. Maitreya teaches the Guardians of the World

Kvacit-kūṭāgāre Mahā-Rājika-deva-parṣadi Lokapālānāṁ Dharmaṁ deśayamānam-
apaśyat; In another Tower he saw (Maitreya) teaching the Dharma to the Guardians of the World in
the assembly of the (Four) Great Kings.
Obviously there is little space on this relief and only two of the Four Great Kings are represented, they
sit in the upper part of the register on the left. Sudhana looks on from the right. Below are devotees
and guardians.

072 Maitreya teaches the Guardians of the World

73. Maitreya teaches Śakra and other Gods

Kacic-Chakra-deva-rāja-parṣadi … kvacit-kūṭāgāre Brahmendra-parṣadi Maitreyaṁ
Bodhisattva Mahā-brahma-bhūtaṁ Dharmaṁ deśayamān-apaśyat; In another Tower he saw the

42
Bodhisattva Maitreya teaching the Dharma in the assembly of Śakra, the King of the Gods … up to
the assembly of Brahmās.
Maitreya is sat in the pavilion, and before him sit the gods who are meant to represent all the gods
from the various levels of existence. Sudhana holds a lotus flower and looks on from the right.

073 Maitreya teaches Śakra and other Gods

74. Maitreya teaches the Nāgas

Kvacin-Nāga-mahoraga-parṣadi … Maitreyaṁ Bodhisattvaṁ Dharmaṁ deśayamānam-
apaśyat; In another (Tower) he saw the Bodhisattva Maitreya teaching the Dharma in the assembly of
the Nāgas, the Great Snakes.
The Nāgas are sat under the tree on the left and are recognisable by the snakes in their crowns.
Maitreya is sitting in teaching posture, and Sudhana looks on from the right.

074 Maitreya teaches the Nāgas

75. Maitreya teaches the Earth-Bound Gods

43
Kvacit … Gandharva-Kinnara-parṣadi kvacid-Asura-Dānavendra-parṣadi …
Maitreyaṁ Bodhisattvaṁ Dharmaṁ deśayamānam-apaśyat; In another (Tower) he saw
the Bodhisattva Maitreya teaching the Dharma to
the Gandharvas, Kinnaras, Asuras and Dānava Lords.
All sorts of earth-bound gods are seen in this relief listening to Maitreya teach the Dharma.
Note the kinnara, a bird with a human head, above the tree on the right. On the left are a row
of earth-blound devas, including nāgas.

075 Maitreya teaches the Earth-Bound Gods

76. Maitreya teaches Humans and Non-Humans

Kvacin … manuṣyāmanuṣya-parṣadi Maitreyaṁ Bodhisattvaṁ Dharmaṁ
deśayamānam-apaśyat; In another (Tower) he saw the Bodhisattva Maitreya teaching the
Dharma to humans and non-humans.
Maitreya sits in the pavilion holding a Dharma-wheel posture (Dharma-cakra-mudrā). On the
left six humans sit under the trees and four non-humans fly above them. Sudhana stands on
the right, and one of his companions holds a shield.

076 Maitreya teaches Humans and Non-Humans

77. Maitreya praises the Bodhisattva Path

Kvacid-yāvad-daśa-bhūmi-sthitair-Bodhisattvaiḥ saha Maitreyaṁ Bodhisattvaṁ sarva-
bhūmi-vaiśeṣikatāṁ saṁgāyantam-apaśyat; In another (Tower) he saw the Bodhisattva

44
Maitreya together with (other) Bodhisattvas up to the tenth stage praising all the specific
stages (of the Bodhisattva Path). Maitreya sits in the pavilion on the left, outside under the
tree sit some of the Bodhisattvas, and standing on the far right under the parasol is Sudhana,
with his companions around him.

077 Maitreya praises the Bodhisattva Path

East Wall (North to Center)

78. Maitreya praises the Perfections

Kvacit-sarva-pāramitā-paripūraye ’pramāṇatāṁ; In another (Tower he saw Maitreya
praising) the measureless fulfilment of all perfections.
Maitreya is sat in the pavilion, with Sudhana and his companions on the right. Above
Sudhana are the gods. On the left are four standing and four sitting Bodhisattvas.

078 Maitreya praises the Perfections

79. Maitreya praises the Entrance to the Teachings

Kvacit-sarva-śikṣābhimukhāvatāra-samatāṁ; In another (Tower he saw Maitreya
praising) evenly the entrance into all the trainings.
Maitreya sits in teaching posture (vitarka-mudrā), while Sudhana stands watching from the
right of the panel. On the left sit six Bodhisattvas, with one standing.

45
 079 Maitreya praises the Entrance to the Teachings

80. Maitreya praises Concentration

Kvacit-samādhi-mukha-praveśa-vistīrṇatāṁ; In another (Tower he saw Maitreya praising)
the numerous entrances into concentration.
Sudhana is stood under the parasol on the far right, with three companions sitting under a tree
in front of him. Maitreya sits in teaching posture, five Bodhisattvas and the gods above the
trees listen to him.

080 Maitreya praises Concentration

81. Maitreya praises the Liberations

Kvacid-vimokṣa-naya-gambhīratāṁ; In another (Tower he saw Maitreya praising) the
deep liberations that lead on (to Awakening). Maitreya, whose face has broken off, sits in the

46
pavilion on the left of centre, while Bodhisattvas sit in front of him. Sudhana holds his hands
in añjali.

081 Maitreya praises the Liberations

82. Maitreya praises Good States

Kvacic-chānta-dhyāna-samādhi-samāpatty-abhijñā-viṣaya-spharaṇatāṁ; In another
(Tower he saw Maitreya praising) the penetration of the sphere of peace, meditation,
concentration, attainments and deep knowledges. Maitreya is sat in teaching posture, with
three Bodhisattvas on the right, one of whom proffers a lotus flower. Sudhana looks on from
the far right.

082 Maitreya praises Good States

83. Maitreya praises Skilful Means

47
Kvacid-Bodhisattva-caryā-vinayopāya-mukha-praveśatāṁ; In another (Tower he saw
Maitreya praising) the entrance into skilful means leading to the Bodhisattva life.
Maitreya is sat on a lotus throne and is teaching once again. In front of him some
Bodhisattvas listen to his instruction, and Sudhana stands behind them looking on.

083 Maitreya praises Skilful Means

84. Maitreya praises the Aspirations

Kvacit-praṇidhānābhinirhāra-vistīrṇatāṁ; In another (Tower he saw Maitreya praising)
the numerous accomplishments in aspirations.
Maitreya sits in teaching posture, while Sudhana sits listening. On the left of the panel we see
Bodhisattvas ready to accomplish all kinds of good works.

084 Maitreya praises the Aspirations

85. Maitreya teaches Bodhisattvas

48
We can be sure of what the next panel illustrates, so it may be that the text available to the
sculptors had an extra sentence which is missing to us, as there is no gap between the last and
the following sentence.
Maitreya is once again in teaching posture and seems to be addressing the seven Bodhisattvas
on the left of the panel. Sudhana and his companions are on the right. As also is the elephant,
which reappears again.

085 Maitreya teaches Bodhisattvas

86. Maitreya and other Bodhisattvas Teaching

Kvacit-kūṭāgāre Maitreyaṁ Bodhisattvaṁ caṁkramābhiyuktaṁ sabhāga-caritair-
Bodhisattvaiḥ sārdhaṁ loka-hita-kriyārthaṁ vividha-śilpa-śāna-śāstra-viśeṣāṁ sarva-
sattva-hita-sukhādhānopasaṁhitatāṁ saṁgāyamānam-apaśyat; In another Tower he saw
the Bodhisattva Maitreya going round with other Bodhisattvas of an equal level praising
working for the benefit of the world, the various special arts and sciences, and being devoted
to the happiness and welfare of all beings.
Maitreya and four Bodhisattvas of the same accomplishments are seen sat at the same level.
Sudhana and his companions look on as the Bodhisattvas teach.

086 Maitreya and other Bodhisattvas Teaching

49
 87. Maitreya sits in Dharma-cakra Posture
In this elaborate scene Maitreya sits in Dharma-cakra posture on the far left, just slightly
lower than him on the right are various Bodhisattvas.
Sudhana sits and unusually faces the viewer. His companions sit behind him. Above them is
seen the elephant again together with two mahouts.

087 Maitreya sits in Dharma-cakra Posture

88. Sudhana worships Maitreya
The final panel on this wall is striking in its simplicity: Maitreya, having accomplished his
teaching is seen walking away, while Sudhana with one knee on the floor is worshipping him.
Indeed it is Maitreya who has uncovered for Sudhana the true nature of reality.
The original sequence probably continued on the next level, but later the balustrades, which
illustrate more of Maitreya’s deeds were added.

50