News

The two iconographic figures of Krishna Yamari and Yama Dharmaraja are often confused with each other, conflated, and subsequently misidentified.

There are a number of different forms of Krishna Yamari from a six faced six armed deity to a one face two armed form. All forms of Krishna Yamari are meditational deities. The confusions in identification primarily involve the simple [1] one faced form of Yamari, the [2] one faced Heruka form of Vajrabhairava and the depiction of the protector deity [3] Yama Dharmaraja in his outer form. It is these last three which are most commonly confused, conflated and misidentified.

In the graphic reference the top row of figures are the four principal forms of Krishna Yamari from most complicated on the left to simplest on the right. The bottom row highlights the confusion. The first image on the left in the bottom row of the graphic is the buffalo faced Heruka. He is the simplified meditational form of Vajrabhairava with nine faces and thirty-four hands. This form of Heruka is often mistaken for Yama Dharmaraja. On the right hand side is Yama Dharmaraja, the special protector deity exclusive to the Vajrabhairava Tantra. He appears very much like Krishna Yamari in the simple form with one face and two and holding the same attributes of a staff and lasso. Yama Dharmaraja is always accompanied by the consort Chamundi whereas the simple form of Krishna Yamari has no consort.

(The majority of images used for the graphic are detail images from a Vajrabhairava mandala belonging to the Asian Art Museum, San Francisco. It is really a fantastic example of a great work that exemplifies both high art and precise iconography).

A new Nyingma Heruka Outline Page has been added to the Nyingma Heruka Main Page.

The early Nyingma Tradition had two principal systems of deity meditation: [1] the Peaceful & Wrathful Deities of the Guhyagarbha Tantra and [2] the Eight Pronouncement Heruka. Over time and with the rise of the 'Revealed Treasure' (Terma) teachings numerous [3] meditational forms of Padmasambhava grew in popularity essentially creating an additional third category of deity meditation types.

[1] Peaceful & Wrathful Deities of the Guhyagarbha Tantra (Shitro)

[2] Eight Pronouncement Heruka (Kagye)

[3] Meditational forms of Padmasambhava (Terma)

In the Nyingma Tradition the term Heruka (blood drinker) generally refers to any male-meditational deity, wrathful in appearance, typically with three faces, six arms, four legs, wings and a consort. There are eight famous Nyingma Heruka deities. Aside from those principal eight deities other deities with a semi-peaceful - semi-wrathful appearance, arising from specific Revealed Treasure Traditions, may also be referred to as Heruka.

Eight Pronouncement Heruka:

1. Yamari (Manjushri Krodha) - body - Manjushrimitra.

2. Hayagriva - speech - Nagarjuna.

3. Shri Heruka - mind - Humkara.

4. Vajramrita - quality - Vimalamitra.

5. Vajrakila - activity - Padmasambhava.

6. Mamo Botong (Matarah) - Dhanasamskrita.

7. Jigten Choto (Lokastotrapuja) - Rambuguhya.

8. Mopa Dranag (Vajramantrabhiru) - Shantigarbha.

------------------------------

9. Mahottara Heruka

The Art Depicted In Art Main Page has been updated with new galleries, images and links. A new Art Depicted In Art Outline Page has also been added to the site.

The two iconographic figures of Acharya Nagarjuna and Nagaraja Buddha both have a hood of seven snakes. Nagarjuna is also one of only three human figures to have an ushnisha, a buddha crown protuberance, on the top of the head. This makes it very difficult to differentiated between Nagarjuna and Nagaraja. In painted compositions Nagaraja typically has a white face and a blue body. Nagaraja can also perform either the teaching gesture with the two hands or his own unique gesture with the two index fingers held together at the heart and pointing upwards. Shakyamuni Buddha in a life-story episode is also protected from the weather by a snake (naga) with either a single or multiple heads. Those depictions of Shakyamuni are found in the sets of life-story paintings.

Tsang Nyon Heruka (1452-1507) was a Tibetan teacher who took the Tantric literature quite literally and behaved and dressed as a Tantric deity wearing bone ornaments, cemetery ashes, and long unshorn hair. This type of radical behaviour is described as an advanced form of practice in the Hevajra and Chakrasamvara Tantras. It is rare for Tibetan teachers to appear in this way which has given rise to the constant mis-identification of Tsang Nyon Heruka as an Indian mahasiddha rather than as a Tibetan teacher. The unique visual characteristics of Tsang Nyon are [1] the vajra scepter held in the right hand, often upraised, with a [2] skullcup or long-life vase cradled in the left hand. These are unique attributes and not shared with any of the well known mahasiddhas, or siddhas within the systems of Eighty-four Mahasiddhas.

The three worldly tsen spirits, Tsi'u Marpo, Dorje Setrab and Dragtsen all look quite similar in appearance. They are red in colour riding red horses, wearing armor, surrounded by smoke and flame. In the right hand they hold either a spear or a staff. In the left hand they hold either a heart or a lasso. They can be very difficult to recognize and require the assistance of surrounding contextual information in order to come to an accurate identification. The Bon deity, Dragtsen, the protector of the Kings of Mustang, was worshiped as a mountain god since ancient times. It is very likely that the relatively late Buddhist deity Tsi'u Marpo originated from the Bon Dragtsen.

Sarasvati and Indra: a confusion over appearance and context. Sarasvati in her most basic Buddhist form appears as a beautiful goddess playing the lute. The Abhidharmakosha commentaries describe the world of existence and the heavens in some detail which is depicted in the Wheel of Life paintings. Indra (Shakra) is described as seated in the highest heavens and playing a lute - stringed instrument. A confusion has arisen as to the identity of the figure (Indra) placed at the top center (heaven realm) in these paintings because of the similarity to the iconography of Vina Sarasvati. It is an understandable confusion because the only real difference between the two forms is the artistic convention of drawing a horizontal hairline for male figures creating a more square face and an oval form for the face of female figures. Although this convention arises quite late in Tibetan art and is certainly not universal, it is often reliable when used in conjunction with other iconographic and contextual indicators.

Brahmanarupa Mahakala is none other than Chaturmukha Mahakala the special protector of the Guhyasamaja Tantra. In his wrathful appearance he is black in colour with four faces and four hands, surrounded by four dakinis. In the Sakya School it is inappropriate to show the wrathful four-faced form to anyone who has not received the initiation. For this reason the iconographic tradition arose for painting Chaturmukha Mahakala in the form of the Brahman servant.

It is easy to understand why Brahmanarupa has been mistaken for an Indian mahasiddha appearing as he does in a siddha-like depiction. The unique features that he has that are not found with other mahasiddhas are the circle of flame surrounding the body - this is a key feature, followed by the [1] human shinbone horn, [2] sword, [3] golden vase, [4] skull prayer-beads and [5] a skullcup. This combination of attributes is only found with Brahmanarupa.

It is easy to confuse the Buddhist Eleven-faced Avalokiteshvara with the two Bon deities Kunzang Gyalwa Gyatso and Kunzang Gyalwa Dupa

The Eleven-faced Avalokiteshvara, Ekadashamukha, a very early Indian Buddhist deity, has several different forms but the two most recognizable are the standing and the sitting figures. In the Bon Religion there are also two forms that are very similar to the Ekadashamukha: Kunzang Gyalwa Gyatso (standing) and Kunzang Gyalwa Dupa (sitting). The number of faces and arms is not exactly equal between the Buddhist and Bon forms but the general appearance is more than enough to cause confusion. Both of the Bon deities hold a svastika scepter making it especially easy to recognize sculptural figures. For paintings, the svastika, over-all context and numerous retinue figures in the composition should help to determine either a Buddhist or Bon iconographic program.

The three Tibetan protector deities, Dorje Shugden, Dorje Legpa and Dorje Ta'og, are commonly depicted wearing large riding hats and flowing garments of various colours. They also ride atop a snow lion (or other mounts such as a horse). They each have a wrathful appearance, maroon in colour, with one face and two hands, holding either a vajra scepter (Legpa & Ta'og) or a curved knife (Shugden). The main confusion in identification arises from the (1) large riding hat, (2) snow lion mount and (3) the maroon body colour.

The Sage of Long-life is a figure borrowed from Chinese mythology. He is generally depicted as elderly, often holding a string of prayer beads. The composition of such a painting should contain six elements: 1. rock of long life, 2. water of long life, 3. tree of long life, 4. man with long life, 5. birds of long life and 6. antelope of long life. The Sage of Long-life paintings represent health, well-being and a safe clean environment. The arhats are always depicted as a group of sixteen with Shakyamuni Buddha and the two close disciples as the central image of the composition. The depictions of both the Sage of Long-life and the Arhats are based on the Chinese model of Taoist Immortals and therefore have a similar appearance - although otherwise unrelated.

In this case there is both a confusion over appearance and a confusion over a name. Amitayus is a Buddha and generally appears identical to Amitabha except for the addition of jewels and multi-coloured silk robes. Avalokiteshvara, as he appears in the Vajradharma form, is almost identical with Amitayus except for the lack of a long-life vase in the lap. With regard to the Chakrasamvara Tantras then there are two forms of the primordial Buddha Vajradharma - Vira Vajradharma and Dharmakaya Vajradharma. The Vira form holds a damaru double-sided drum and a skullcup. The Dharmakaya form holds a vajra and bell with the the two hands crossed at the heart. This form is identical in appearance to the primordial Buddha Vajradhara except for having a red body colour. Neither of these two forms of Vajradharma are related to the Avalokiteshvara Vajradharma.

It is very easy to confuse the deities Vajrapani, Vajravidarana, Sengge Dradog, Mahakala and Yama Dharmaraja. They are all wrathful in appearance, blue in colour, one face and two hands, holding either a vajra or curved knife in the upraised right hand. Great care must be taken to see the defining characteristics of each iconographic form as well as observing the over all context of a painting. Sculptural representations are more difficult to identify without the help of an inscription or the benefit of comparison with other sculptural figures from the same set. Many of the figures from the various sets of the Ten Great Wrathful Ones can also have the general appearance of Vajrapani. When an identification is still in doubt and the obvious forms have been ruled out then the Ten Wrathful Ones should be carefully looked at.

Many iconographic forms are very similar in appearance to each other. Because of this similarity there is often confusion over identifications of both deity and human figures. The list below is a general survey of the most commonly confused figurative subjects in Himalayan and Tibetan art. Links and pages for all of the entries below will be added over the next few weeks.

Confused Visual Subjects:

- Amitayus, Avalokiteshvara

- Avalokiteshvara with 11 Faces, Kunzang Gyalwa Gyatso, Kunzang Gyalwa Dupa

- Brahmarupa Mahakala, Mahasiddhas

- Chakrasamvara, Shri Hevajra, Mahamaya, Buddhakapala, etc.

- Dorje Shugden, Dorje, Legpa, Dorje Ta'og

- Karmapa black hat, Jamchen Choje Shakya Yeshe black hat

- Krishna Yamari, Yama Dharmaraja (outer)

- Magyu Sangchog Tartug, Shri Hevajra & Chakrasamvara

- Mahakala subjects: Gonpo Maning, Gonpo, Legden, Gonpo Chesum

- Nagarjuna, Shakyamuni Buddha, Nagaraja Buddha, Arhat Rahula, Sakya Pandita

- Padmasambhava, Yungdrung Tongdrol, (misc. Nyingma teachers)

- Sage of Long Life, Arhats

- Sakya Pandita, Buton, Tsongkapa, Ngorchen, Bodongpa, Gongkar Dorjeden

- Sarasvati, Indra (Wheel of Life paintings)

- Shamar hat, Gyaltsab hat, Situ hat, (hats of misc. Nyingma teachers)

- Tsangnyon Heruka, Mahasiddhas

- Tsiu Marpo, Dorje Setrab, Dragpa Sengge

- Vajrabhairava, Mahottara, Vishvarupa

- Vajrapani, Vajravidarana, Sengge Dradog, Kartaridhara, Yama Dharmaraja (inner)

- Vajrasattva (Heruka), Vajradhara, Vajradharma, Vajrapani

Hell Beings & Torture Depictions: a set of painted cards on rough paper with various hell scenes. Two of the images were previously uploaded to the HAR website. The set must have been created for some ritual use as each card is also numbered on the back, however it is difficult to say how many cards there were in total. Hell depictions were especially popular in Mongolia where most of the best sets of hell depictions are found. (See the Hell Main Page and Hell Outline Page).

These images are from a set of modern cards printed on paper depicting groups of three deities, or groups of three individuals - founding teachers of Tibetan Buddhism. Many of the most common and essential visual topics of Tibetan iconography are represented in these images. The full set, arranged in groups of three, also re-enforces the importance of knowing the Iconographic Number Sets in Himalayan and Tibetan art. (See Number Sets Main Page and Number Sets Outline Page).

Just as in learning arithmetic and advanced mathematics without knowing the definitions of numbers and sets and without knowing the multiplication tables and division tables - there is no proficiency. So it is with iconography in Himalayan and Tibetan art. Without knowing the iconographic number sets - there is no proficiency. 

Amoghapasha, which means unfailing lasso, refers to an unfailing compassion like a lasso which brings all sentient beings out of suffering and into a state of happiness leading to enlightenment. Amoghapasha is a complicated deity subject in Tantric Buddhist iconography. He is easily mistaken for Avalokiteshvara in most artistic depictions. The two deities are frequently conflated together by scholars. Sometimes Amoghapasha is described as a form, or emanation, of Avalokiteshvara and again at other times a retinue figure while Avalokiteshvara is the central deity in the mandala. It begs the question, why are some of these mandalas called the Five-deity Amoghapasha if the central deity is Avalokiteshvara? It all comes down to naming conventions in Buddhism. The very idea of a compassionate deity called Amoghapasha comes out of a number of Indian Sanskrit texts that all have the word-name Amoghapasha in the title. In these texts both Avalokiteshvara and Amoghapasha are described along with different appearances and functions for each. In consequence, the principal name for all of these forms of the two deities, regardless of which one of the two is at the center of the mandala, are called Amoghapasha - mandala, meditation, or ritual.

There are a number of different Amoghapasha mandala configurations that still exist in the Newar and Tibetan Buddhist Traditions. There are also numerous solitary forms that do not have elaborate mandalas or retinue figures. The most common of these forms are typically depicted in Nepalese sculpture. They generally have one face and multiple arms, six, eight or ten, and are shown in a standing posture. (See the Amoghapasha Forms Outline).

Amoghapasha Pages:

Amoghapasha Main Page

Outline Page

Forms of the Deity Outline

Painting Set Outline

Amoghapasha Masterworks

The appearance of the Bon deity Magyu Sangchog Tartug follows very closely with several popular Tantric Buddhist deities such as Shri Hevajra and Chakrasamvara. As a comparison, look at the similarities of the 1. standing posture of all three deity figures, 2. the colour of the body, 3. the number of heads, 4. the number of arms, 5. the form of the consort, 6. the posture of the consort, 7. the colour of the consort, 8. the sixteen skullcups in the hands.

Magyu Sangchog Tartug (ma rgyud g.sang mchog mthar thug) is likely the most important Bon meditational deity to appear after the early formulation of the Five Excellent Ones of the Se Fortress and the very early deity Zhangzhung Meri.

The appearance and teachings of Magyu follow much more closely with those of Tantric Buddhism than the Five Excellent Ones. The Magyu is not only similar in appearance to the Buddhist deities Shri Hevajra and Chakrasamvara but also follows closely the literature and commentarial explanations especially with such arcane subjects as generation and perfection stage, dream yoga, clear light, etc.

The deity Magyu is wrathful in appearance, blue in colour, with seven heads and sixteen arms holding sixteen skullcups and each containing a heart. Embracing the consort Kyema Marmo, red in colour, one face and two arms, Magyu stands with the right legs straight and the left bent. The human lineage of Magyu is believed to have started with the Tibetan teacher Zangsa Ringtsun.

Namkha Gyatso a Bon Lama of unknown date, of unknown region and of unknown lineage affiliations.

Seated upright, slightly portly, with silver inlaid eyes a mustache and goatee, he appears slightly older in appearance - possibly depicting a teacher in mid life or later. The right hand is in a gesture of explication or blessing while holding a flower supporting an umbrella-like banner. The left hand is extended across the knee with the palm up, the fingers holding the stem of a flower with the blossom supporting a folio book. The upper torso wears a single robe draped across the left shoulder while a meditation belt goes from the right side to the left across the chest. The head is adorned with a variation of the lotus hat of which there are many different types. Long lappets hang to the right and left and the front is marked with a crescent moon and sun. Again, seated in a typical manner, the legs are placed in a cross legged posture, right over left, atop a double lotus base. (See Bon Hats).

The bottom of the sculpture has a metal plate with an incised 'yungdrung' design circling to the left in the manner typical of the Bon Tradition. The date of the object is speculative and it is possible the object is much more recent in time. An inscription is located around the base of the sculpture.

Jeff Watt 4-2006 [updated 4-2011]

Wylie Transliteration: rje rbas pa'i rigs dzin nam mkha' rgyam mtsho la. krad nam mkha' rin chen gus pas phyag mtshal lo. bdag sogs pha ma'i tso gyas sems kun rnam. gan mchog khyed kyi grung du grib byans nam. nyur du sads rgyas dgo' phang thob par shog.