Indian Antiquary Vol 57

Author(s): Richard Carnac Temple, Charles E A W Oldham, Krishnaswami Aiyangar
Publisher: Swati Publications

Page 48

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THE INDIAN ANTIQUARY
[ FEBRUARY, 1928
'The Joinns and the Buddhists aliko borrowed Buddhas, six Buddha aktin or consorts of Buddhas Hindu gods in the earlier stages, but in the Tan and six Bodhisett vas-those who do the duty trio Rge the Buddhist gods were commonly of a Buddha on the earth. Then we have seven exploited. The problem of correct identification mortal Buddhas, of whom Gautama Buddha was one, of images, therefore, presents a real difficulty, and each with his Sakti and his Bodhisattva. Besides great scholars have, more than once, attempted so. these is Maitreya, who "pertakes of the nature of a lutions." These are remarks to be carefully digosted mortal Buddha, though he is not a Buddha yet. and are the more noteworthy for coming from a He is passing the life of a Bodhisattva in the Tushita Brahman
Heavon preparatory to his coscent to the earth in We are given an account of the Sadhanamala human form." It is on these conceptions that the which"contains about 300 sadhanas enjuining Buddhist pantheon and its iconography mainly the procedure for worshipping, in the Buddhist
rests. Tantric fashion, about 300 deities," and Mr. In the consideration of Manjusri the Bodhisattva Bhattacharya is careful to explain that sadhana of the Dhyani Bucklhs AmitAbha, we plunge at does not mean "charm," as Bendall thought, once into the abstractions of Mahayana Buddhism but a "procedure for worship." Next attention and the difficulties connectod therewith, which is drawn to the importance of the Dhyanas "or Mr. Bhattacharya cleals with as clearly as may be. descriptive conceptions of the deity," for the The same can be said of his dealings with Avalokites. purposes of Iconography, and to the method on vara "emanating from the Dhyani Buddha, which Mr. Bhattacharya has based his endeavour Ainitábha and his Sakti, Pandara. Like Man. to identify the images of Buddhist deities by means jusri, he appears in many and bewildoring forms, of tho Dhyanas given in the Sadhanandla,“tho cleverly and fully set out in this book. most scientific classification of the Buddhist deities Mr. Bhattacharya next takes us to emanations being to sort out and classify them according to of the Dhyani Buddhas, commencing with Amitabha their parental Dhyllni Buddhas." Manjusri and and passing on to Akshobhya (gods and goddesses), Avalokitávara, the groat Bodhisattvas have, Vairochanu (all goddesses), Amoghasiddhi (also however, been treated separately, and thoso deities all goddesses), Ratnasambhava (gods and goddesses). who cannot be definitely stated to be emanations The Naipali Vajrasattva, the 6th Dhyani Buddha, of any Dhyani Buddha, have been termed "In is not included in this category, but there is another dependent," and separatoly dealt with. We thus sot of gods and goddessce, who are emanations of Hou how it has boen made possiblo to systematise the Five Dhyani Buddhas as a body-a combination this bewildering Iconography.
of all the five, amongst which is included the terrible Mr. Bhattacharya has a thoughtful chapter on Mahâkâla Then follow the emanations of the "Evidence of Art" as to his subjoct, showing Vajrasattva "the Pafcharaksha Mandala, and the how "in the late phase of Vajrayana, after its Taras, green, white, yellow, blue (grey) and rod. destruction in India, the priests of the celebrated In addition to all there are the independent doitiesmonasteries took refuge in Nepal, and thus kept gods and goddesses--some of which show indications the torch of Buddhism still burning in India," of importation, e... Ganapati, and Sarasvati in carrying with them the art of Bengol, and there various formir, and Sarada. "in order to make sure of their existence converted After this Mr. Bhattacharya draws his conclusions, a good many of the natives and carved out in which every student of iconography should stucly. numerable images of gods both in stone and in He winds up with the following statement of Tantric wood; so much so, that a student of Iconography is ! transcendentalism: "The god Heruka, tho em. overwhelmed at their wealth and variety." It hodiment of sunya, carrying the weapons, was to Nepal that Mr. Bhattacharya had himself the embodiment of Bodhichitta, also of the nature to go for his information.
of Sünya, is embraced by Nairatma, whose essence After remarking that "the Pantheon of the is also Sunya, carrying weapons also of the nature Northern Buddhists was not built in a day " our of súnya. Thus Void with Void commingles. author gives an account of its rise in the eighth This is the highest state--tho Anupadhifeshacentury A.D. and its remarkable spread : " tho Nirvåna." Hindus any that the number of their doities is There is an appendix describing the 108 forms thirty-three crores, and it seems that tho Buddhists of Avnlokitesvara appearing in the Machchhandlar can claim & similar figure." Ho then proceeds Vathalat Kathmandu. There are the 108 Lokes. to show how this can be the caso.
varas. With this must end this very brief outline The book next passes to a consideration of the of Mr. Bhattacharya's remarkable book, adding images themselves commencing with an account of that there is a useful glossary and a good index, the Buddhas, Buddhafaktis and Bodhisattvas of and the further observation that one can now under the MahayAnists. It is to be noted that in Nepal stand why the admirablo plates number sixty. & sixth doity is addos to the orthodox five in this nine. respect. Thus there aro in that country six Dhyani!
R. C. TEMPLF.