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Reflections of the Buddha

Four-circle Hevajra Mandala









Four-circle Hevajra Mandala
Tibetan; 15
th
-16
th
century
Than!a; in! and colors on linen "#ith cotton intert#ined #ith the linen
threads$
Painted for the %a!ya &rder; 'erha's fro( the )or Monastery* Tsan*
Tibet
H+ 5,+, c( "-1 in+$
.+ //+5 c( "10 1 in+$
Harvard Art Museu(s2Arthur M+ %ac!ler Museu(*
Purchase throuh the Paul 3ernat Fund* 1460+5
Photora'h by 6unius 3eebe 7 President and Fello#s of Harvard 8ollee


This vibrant than!a9a 'ortable Tibetan icon* either 1$ #oven of sil! in ta'estry #eave or e(broidered
#ith sil! thread on a sil! round* or -$ 'ainted #ith veetal and (ineral 'i(ents on a cotton or linen
cloth coated #ith a #ash of li(e and then burnished to 'rovide a s(ooth #hite round to sho#case the
brilliant colors9centers u'on four (anifestations of the :ajray;na deity Hevajra*
1
one of the 'rinci'al
ista-deva* or tutelary deities* of the %a!ya order of Tibetan 3uddhis(+
-
This deity<s stri!inly si('le
na(e* #hich consists of a syllable of forceful e=cla(ation "he$ and the #ord for >indestructible? or
>ada(antine? "vajra$ is lossed in the Hevajra-tantra* the foundational te=t for the deity<s cult* as an
e(bodi(ent of the unity of co('assion9sy(bolized in he9and #isdo(9sy(bolized in vajra+ At
u''er-left is his (ost co((on for(* the eiht-faced* si=teen-ar(ed* four-leed (anifestation !no#n
as @a';lA Hrdaya-Hevajra* in ecstatic e(brace #ith his consort )air;t(y;; at u''er-riht is the si=-ar(ed*
three-faced 8itta Hevajra* in e(brace #ith his consort :ajraBr!hal;; at lo#er-riht is the t#o-ar(ed
@;ya Hevajra #ith his consort )air;t(y;; and finally* at lo#er-left is the four-ar(ed :; Hevajra #ith his
consort :ajrav;r;hA+
,
Cach (anifestation is de'icted holdin cu's (ade fro( half-o'en hu(an crania*
often ter(ed s!ull cu's; the bearin of such cu's rather than #ea'ons indicates that this 'aintin #as
'roduced for the 'ractice of rites based on the Hevajra-tantra*
/
one of the Anuttarayoga-tantras* or

1
%ee D+ E+ %nellrove* The Hevajra Tantra: A Critical Study* "EondonF &=ford Gniversity Press* 1454$* vol 1+* '+ /0+
The deity<s very na(e serves as an instantiation of one of the 'ri(ary oals of #orshi''in Hevajra9na(ely*
realizin the unity of co('assion and #isdo( in oneself+
-
Than!as traditionally #ere (ounted as scrolls* the scroll ense(ble includin cloth-fronted borders and a veil of
cloth to 'rotect the #or! #hen not in active ritual use+ 3ecause this than!a has been cut fro( its (ountin and
no# is 'resented in the for(at of a lare albu(* it lac!s its oriinal cover and cloth-fronted borders+
,
These (anifestations are described in %nellrove* The Hevajra Tantra* vol 1+* ''+ 55-54 and 11H-111* thouh they
are not na(ed+ I relied on the iconora'hic descri'tions in Eo!esh 8handra* Dictionary of Buddhist conogra!hy
")e# DelhiF International Acade(y of Indian 8ulture and Aditya Pra!ashan* -HH-$* vol+ 5* ''+ 1,40-1/-1* to
identify and na(e the deities+ The deities are also described in Tianshu Jhu* >Hevajra Tantra*? in 6ohn 8+
Huntinton and Dina 3andel* The Circle of Bliss: Buddhist Meditational Art "8olu(bus and 8hicaoF 8olu(bus
Museu( of Art and %erindia Publications* -HH,$* ''+ /55-/56+
/
The iconora'hy for the #ea'on-bearin (anifestations of Hevajra is derived fro( the S"#!uta-tantra+
Four-circle Hevajra Mandala $


The Pulitzer Foundation for the Arts
Reflections of the Buddha
>Hihest Koa Tantras*? of the %a!ya school+ The Hihest Koa Tantras are one of the four ty'es of
tantras in :ajray;na 3uddhis(*
5
the tantras bein syste(s of 'ractice* usually based on s'ecific te=ts*
that are (eant to enable the 'ractitioner to attain 3uddhahood throuh (editative enae(ent #ith a
'articular tutelary deity+ The Hihest Koa Tantras are believed to allo# attain(ent of 3uddhahood in a
sinle lifeti(e+ They de(and that the 'ractitioner follo# a teacher<s instructions in 'erfor(in radical
inner transfor(ations9for e=a('le* visualizin his body as a 'articular arrane(ent of deities both
(ale and fe(ale* and further visualizin hi(self as neither different fro( nor the sa(e as those deities+
These tantras 'articularly e('hasize the si(ultaneous unity of and difference bet#een #isdo( and
co('assion+ 3ecause #isdo( is considered a fe(ale attribute in 3uddhist thouht and co('assion a
(ale attribute* se=ual (eta'hors and i(aery are used e=tensively+ In conte('latin such (eta'hors
and i(aery* >desire is converted to bliss* hatred to radiance* and delusion to a#areness* and the union
of (ale and fe(ale is transfor(ed into the nondual state of co('assion and #isdo( of a 3uddha+?
6

I('ortantly* as can be seen in this than!a* the deities de'icted in ecstatic* se=ual e(brace are
'rofoundly #rathful ones+ They all bear various #ea'ons* so(e tra('le u'on cor'ses* and others #ear
arlands of s!ulls+ :ajray;na 'ractitioners understand the fearso(e a''earance of these deities to be*
in fact* an out#ard (anifestation of their co('assion+ 3y directin their #rath aainst the obstacles
that hinder #orshi''ers< 'roress alon the 'ath to a#a!enin* these deities dis'lay their co('assion
for their follo#ers+ They (anifest* in essence* >benevolent #rath+?
0


These four (anifestations of Hevajra are de'icted at the center of a (andala9an array of deities
'ositioned #ithin a 'alace-li!e architectural settin* (eant to be envisioned as a fully three-di(ensional
s'ace+ Mandalas are usually created in acco('ani(ent to (editative 'ractices in #hich the 'ractitioner
visualizes hi(self in union #ith9or as9those deities+
5
.hile the deities de'icted #ithin a (andala (ay
vary* and #hile stylistic differences (ay al#ays be identified* the basic structure of (andalic
co('ositions re(ains enerally constant across all 'eriods and 'laces of :ajray;na 3uddhis(+ The
structure of each of the four (andalas de'icted on this than!a (iht be best understood by ta!in a

5
The four ty'es are %riy"-tantra "Action Tantra$* Cary"-tantra "Perfor(ance Tantra$* &oga-tantra "Koa Tantra$*
and Anuttarayoga-tantra "Hihest Koa Tantra$+ A brief introduction to the different ty'es of tantras (ay be
found in Dina 3andel and Aviana P+ Ma!i* >Lelated Csoteric Tantras*? in Huntinton and 3andel* ''+ /---/-,+
6
Ibid+* '+ /-,+
0
For (ore on the notion of >benevolently #rathful? deities* see Lob Einrothe* >Protection* 3enefaction* and
Transfor(ationF .rathful Deities in Hi(alayan Art*? in Lob Einrothe and 6eff .att* De#onic Divine: Hi#alayan Art
and Beyond ")e# Kor!F Lubin Museu( of Art* -HH/$* ''+ ,-/,+
5
Mandalas are often described as >visualization "or (editation$ aids+? The te=ts that 'rescribe the creation of
(andalas* ho#ever* never e='licitly describe ho# the #orshi''er is to interact #ith (andala* even thouh such
te=ts often tell the #orshi''er to create a 'hysical (andala accordin to 'recise instructions and then to construct
an identical (andala in his (ind+ Thus* #hile the creation of the 'hysical (andala (ay hel' 'ractitioners to
fa(iliarize the(selves #ith the deities that they envision durin (editative 'ractice and to focus their (ind on
those deities* it cannot be asserted #ith absolute certainty that a (andala is e='licitly used durin actual
(editative 'ractice+ This is not to say that 'hysical (andalas do not serve any 'recise ritual faction+ Indeed*
durin so(e consecration rites "%ans!ritF a'hise(a$* a (andala (ay be laid out on a raised altar* onto #hose
deities each ne# initiate into the 'ractices associated #ith the (andala tosses a flo#er 'etal* ta!in as his tutelary
deity the fiure onto #hich the flo#er 'etal falls+ The @a(a!ura-'eriod "1155-1,,,$ )o#' )orld Mandala also
on dis'lay in >Leflections of the 3uddha? could have been used in such a #ay* thouh as David %nellrove 'oints
out* iven that (andalas li!e this Four-Circle Hevajra Mandala focus on only a sinle 'residin deity* it is unli!ely
that they #ould have been used in a si(ilar consecration ritual+ %ee David %nellrove* ndo-Ti'etan Buddhis#:
ndian Buddhists and Their Ti'etan Successors "3ostonF %ha(bhala* -HH-$* '+ 15H+
Four-circle Hevajra Mandala *


The Pulitzer Foundation for the Arts
Reflections of the Buddha
narrative a''roach to the(* follo#in the lead set by #orshi''ers #hose visualization 'ractices involve
the use of (andalic confiurations+

.e should first i(aine a''roachin one of the four circular (andalas fro( outside its outer(ost
boundary+ .e thus first encounter a #all of five-colored fla(es "red* blue* yello#* #hite* and reen$*
here rendered in al(ost veetal or foliate (anner* #hich serves as the first (ar!er of our entry into a
(ore sacred real(+ This sacred real( is further sealed #ithin the #all of fla(es by a narro# red band*
#ithin #hich are rendered in old very sche(atic vajras9hand-held ritual i('le(ents* derived fro(
ancient Indian #ea'ons* #ith shar'* curved 'rons at each end+ Althouh de'icted as a flat band of
colorful* scrollin for(s* and althouh ju=ta'osed #ith other flat zones of decoratively enlivened color*
this see(inly flat re'resentation of fla(es is to be i(ained as a vertical* three-di(ensional for(;
conversely* the surroundin bands* includin that of the vajra belt* (ay be read as to'-do#n
to'ora'hic re'resentations+ This ju=ta'osition of contrastin (odes of re'resentation is ty'ical of
(andalas and of 're-(odern (a's (ore enerally+

The first zone #ithin the circular vajra belt is occu'ied by the eiht charnel rounds "%ans!ritF +#a+"na$*
terrifyin 'laces for the conte('lation of terrifyin* #rathful deities+ Cach is overned at its center by a
'articular deity* #ho is surrounded by attendants* i('aled bodies* cor'se-devourin ani(als* funerary
'yres* and (ortuary st,!as9a ty'e of Indian funerary (onu(ent consistin* in its si('lest for(* of a
se(i-s'herical (ound sur(ounted by an u(brella* constructed to enshrine the re(ains of a 'articularly
honored 'erson* es'ecially reliious leaders li!e the 3uddha M;!ya(uni+ In (ulti'le 'assaes in the
Hevajra-tantra* such disturbin sites are s'ecified as the a''ro'riate 'lace for conte('lation of the
#rathful Hevajra; further* it is even s'ecified that the colors used in 'aintin his (andala be (ade fro(
thins li!e >charcoal of the ce(etery*? >round hu(an bones*? and >ce(etery bric!s*? #hile a certain
dra#in aid is to be (ade of >ce(etery thread?9actually* >a thread (ade fro( the uts of a cor'se+?
4


3orderin the charnel rounds* #hich are re'resented as thouh the vie#er #ere standin a(on the
fiures de'icted* are a series of (ulti-colored lotus 'etals vie#ed fro( above* thus sinalin our
ste''in slihtly u'#ard+ .ith this ascent* #e co(e to stand on the sa(e 'lane as the 'alace of the
(anifestation of Hevajra hi(self* a structure that assu(es a sNuare for(+ Cach #all of the 'alace is
de'icted as thouh vie#ed in 'rofile* and each is 'ierced at its center by an elaborate ate* co('osed of
four horizontal slabs9colored* fro( botto( to to'* red* blue* reen* and old9su''orted by t#o
colu(ns on each side; the for( see(s to be vauely ins'ired by that of the torana* an elaborate 'ost-
and-lintel ate#ay often 'laced around a st,!a at each of the four directions+ A trefoil arch adorns the
front face of the slabs* #hich are sur(ounted by a s(all st,!a-li!e for( bordered on each side by
!neelin deer+ The ates are bordered on each side by the a'in (ouths of red #a(aras* hybrid sea
(onsters seen throuhout 'an-Asian 3uddhist sites as ate 'rotectors+ Fro( their (ouths s'e# vivid
foliae* colored a''ro'riately to the direction that they uard; hence* at to' #e see yello# foliae*
indicatin the #est; at riht* the reen of the north; at botto(* the bluish-blac! of the east; and at left*

4
%nellrove* The Hevajra Tantra* vol+ 1+* '+ 51+ Althouh the Hevajra-tantra freNuently refers to ce(eteries* it
does not 'recisely describe the eiht ce(eteries de'icted in (andalas such as this+ It see(s that it is only in
co((entarial literature that they are (ore fully described+ %ee the discussion of charnel rounds in >Hi(alayan
Art*? a (ajor online database of Hi(alayan 3uddhist 'aintin and related iconora'hic infor(ation (aintained by
the Lubin Museu( of Art in )e# Kor! ">%ubjectF 8harnel Orounds P 8e(eteries*? n+d+* Qhtt'F22###+hi(alayanart+
or2search2set+cf(RsetIDS1,6/T$+ %ee also 6eff .att* >Mandalas and the Ciht Mahasiddhas*? Auust -HH4 Q
htt'F22###+hi(alayanart+or2search2set+cf(RsetIDS-1H6T+
Four-circle Hevajra Mandala -


The Pulitzer Foundation for the Arts
Reflections of the Buddha
the red of the south+
1H
The directionality of the color sche(e e('loyed in a than!a (ay ive so(e
indication of ho# it #as oriinally hun in a (onastic s'ace+
11


.ithin the ates lies a narro# red band runnin alon the four sides of the 'alace* on #hich are
de'icted tiny* seated fiures* #ho( I have yet to identify+ This narro# band is follo#ed by a (uch
broader* foliated band* colored aain in accordance #ith the four directions+ &n this band (ay be found
eiht da(in.s "also called* (ore enerically* yogin.s9that is fe(ale 'ractitioners of yoa$* fe(ale
attendants to Hevajra* #ho dance ato' cor'ses lyin u'on red lotuses+ These fe(ale deities are all
s'ecifically na(ed and described in the Hevajra-tantra+
1-
Inters'ersed a(on the( are vases* co((on
accoutre(ents to consecratory rituals+ Finally* at the center of the 'alace* the (anifestation of Hevajra
hi(self stands ato' a lotus 'edestal* aain rendered fro( a to'-do#n vie#* thus indicatin the deity<s
occu'yin the hihest 'oint of this enerally 'yra(idal (andala+ Cach (anifestation of Hevajra is
de'icted in the ardha-!arya(a 'ose* dancin ato' one or (ore cor'ses+ The four les of the si=teen-
ar(ed Hrdaya-Hevajra* for e=a('le* tra('le four cor'ses* understood to sinify the four M;ras* or
de(onic obstructions* to one<s 'roress on the 3uddha<s 'ath+
1,



1H
For the correlation bet#een colors and directions in Hevajra (andalas* see Jhu* >Hevajra Tantra*? in Huntinton
and 3andel* ''+ /5/-/56* and 8atalo Cntry U1/,* >Hevajra Mandala*? in ibid+* ''+ /61-/6/+ This correlation is
so(e#hat different fro( the (ore co((on syste( based on the Five .isdo( "or 6ina$ 3uddhas of the :ajradh;tu
"Dia(ond .orld$* each of #ho( sy(bolizes a 'articular as'ect of enlihten(ent+ This syste( identifies red #ith
A(it;bha* the 3uddha of the .est; reen #ith A(ohasiddhi* 3uddha of the )orth; blue #ith A!sobhya* 3uddha
of the Cast; yello# #ith Latnasa(bhava* 3uddha of the %outh; and #hite #ith :airocana* the 8os(ic 3uddha of
the 8enter+ For (ore on this syste(* see A(y M+ Eivinston* >Ooal of the Transfor(ed MindF Cnlihten(ent
%y(bolized*? in ibid+* ''+ 4H-4-+ Mandalas based on other tantras (a!e use of yet other correlative syste(s;
@alacha!ra (andalas* for e=a('le* identify blue #ith east* red #ith south* yello# #ith #est* #hite #ith north* and
reen #ith the center+ %ee Lebecca E+ T#ist and Dina 3andel* >@alacha!ra Tantra*? in ibid+* ''+ /05-/04* es'+ /05+
Althouh the directional correlations vary de'endin on the te=t* the five basic colors re(ain the sa(e+ These
'rinci'al colors have been rou'ed toether since the earliest days of 3uddhis( and are (entioned in the D.rgha
/ga#a "8hinese* 8han Ahan jin $* a collection of early Theravada te=ts translated into 8hinese in /1,+
For bac!round infor(ation on the Five 8olors "%ans!rit* 'aVca-varn;$* see >|? in Mochizu!i %hin!W
* Bu((y0 daijiten * vol+ - "To!yoF 3u!!yW daijiten ha!!Wjo* 14,1-146,$* 1154-114H+ At least one
scholar has suested that because of their vibrancy* ancient Indian reliious 'ractitioners #ere 'rohibited fro(
usin these five colors for their robes+ %ee >? in )a!a(ura Haji(e * Bu((y0go daijiten *
vol+ 1 "To!yoF TW!yW shose!i* 1405$* ,6,+
11
Directionality is 'erha's (ost clearly e(bedded in the Dia(ond and .o(b .orld Mandalas "6a'aneseF
%ong0(ai #andara and Tai10(ai #andara $ e('loyed in 6a'anese %hinon and
Tendai 3uddhis(+ The (andalas are hun facin each other* #ith the Dia(ond .orld on the #estern #all
and the .o(b .orld on the eastern #all+ All of the deities in these (andalas* (any of #ho( are associated #ith
a 'articular direction* are 'laced in accordance #ith the directional sche(e i('lied by the hanin of the
(andalas+ Thus* in the Dia(ond .orld Mandala* A(it;bha* the 3uddha of the .est* is al#ays de'icted at the to'
"i+e+* #est$ of a rou' of deities* #hile in the .o(b .orld Mandala* he is al#ays de'icted at botto(+ For an
introduction to these (andalas* see Clizabeth ten Orotenhuis* 2a!anese Mandalas: Re!resentations of Sacred
3eogra!hy "HonoluluF Gniversity of Ha#ai<i Press* 1444$* ''+ ,,-45+
1-
%ee %nellrove* The Hevajra Tantra* vol+ 1* ''+ 111-11-+ A convenient chart (ay also be found in Jhu* >Hevajra
Tantra*? in Huntinton and 3andel* '+ /56+
1,
Jhu* >Hevajra Tantra*? in Huntinton and 3andel* '+ /55+
Four-circle Hevajra Mandala 4


The Pulitzer Foundation for the Arts
Reflections of the Buddha
These four 'ri(ary (andalas are surrounded by a variety of other fiures* both (on!s and deities;
unfortunately* the lac! of acco('anyin inscri'tions (a!es identifyin (any of the fiures rather
difficult+ The fiures are* ho#ever* arrayed in a syste(atized #ay+ At the center of the than!a sits the
lare fiure of a (on! in full lotus 'osition "%ans!ritF !ad#a-"sana$ attended by t#o (ale deities
"'erha's bodhisattvas$* all three of #ho( are fra(ed by a blue niche+ The central fiure (a!es the
dhar#aca(ra-#udr"* the esture of teachin* #hile holdin the stal!s of t#o lotuses* #hich rise to his
shoulders* #ith his finers+ Gnfortunately* the lotus blosso(s do not su''ort any attributes that (iht
allo# us to identify the fiure* leavin us to s'eculate that the fiure (ay re'resent an e(inent (on!
revered by the donor of the 'aintin* 'erha's the recently deceased abbot of a te('le+ In front of these
three (ain fiures are lotus flo#ers in a vase* 'resu(ably an offerin+

Above* to the left* and to the riht of this central niche are fiures that (ay be identified as
#ah"siddhas* 'articularly revered* al(ost (ythical (on!s* #ho* in this case* are a(on the earliest
(e(bers of the lineae fro( #hich the %a!ya order understood the(selves to be descended+
1/
At to'
is :irX'a; at riht* Do(bi Heru!a* a disci'le of :irX'a #ho received fro( hi( initiation into the 'ractices
of Hevajra and #ho is identifiable by his act of e(bracin a consort #hile ridin a tier+
15
At left #e see
a blue (ale fiure #ho is bein a''roached by a #hite fe(ale fiure; althouh I have not been able to
identify this #ah"siddha conclusively* because he is rou'ed #ith :irX'a and Do(bi Heru!a* it see(s
li!ely that he is @;nha* the second disci'le of :irX'a to receive the Hevajra teachins+ I have not been
able to identify the (on!s above* to the left* and to the riht of this central fiure; each is attended by
t#o to three #rathful deities* #ho( I also have yet to identify+

The three deities inters'ersed at the lo#er boundaries of the t#o lo#er (andalas can be identified as a
#hite (anifestation of the si=teen-ar(ed Hrdaya-Hevajra and his consort )air;t(y; at center; an
inde'endent )air;t(y;* dancin on a cor'se and holdin a s!ull cu' and daer* #ith the (hatv"ga* or
staff* restin aainst her shoulder; and a red @uru!ull;* a four-ar(ed fe(ale deity aain dancin on a
cor'se and dra#in a bo# and arro# and carryin a hoo! and a red lotus in her re(ainin t#o hands+
The 'resence of )air;t(y;
16
and @uru!ull;
10
'erha's (ay be e='lained by their bein described in the
Hevajra-tantra+ )air;t(y; is* of course* o(ni'resent in the te=t as Hevajra<s consort* yet the te=t also
(a!es her the focus of an inde'endent (andala; (ean#hile* @uru!ull; is described as a 'articularly
'o#erful bein* (editation u'on #ho( >brins the threefold #orld to subjection+? .hile it is relatively
co((on to de'ict du'licate for(s of the 'rinci'al deity of a (andala in the than!a<s interstitial s'aces*
I have not found an e='lanation of #hy this is done+

1/
For an e=tensive discussion of the de'ictions of lineaes in Tibetan than!as* see David P+ 6ac!son* The 5e!alese
6egacy in Ti'etan 7ainting ")e# Kor!F Lubin Museu( of Art* -H1H$* es'+ ''+ -,-51+
15
In atte('tin to identify deities* I relied 'ri(arily on the identification of fiures in (andalas 'ublished in 6ohn 8+
Huntinton and Dina 3andel* The Circle of Bliss: Buddhist Meditational Art "8olu(bus and 8hicaoF 8olu(bus
Museu( of Art and %erindia Publications* -HH,$; Marilyn M+ Lhie and Lobert A+ F+ Thur(an* )orlds of
Transfor#ation: Ti'etan Art of )isdo# and Co#!assion ")e# Kor!F Tibet House in association #ith the %helley
and Donald Lubin Foundation* 1444$* es'+ ''+ -5H-,11; Marilyn M+ Lhie and Lobert A+ F+ Thur(an* )isdo# and
Co#!assion: The Sacred Art of Ti'et ")e# Kor!F Harry )+ Abra(s* Inc+* 1441$* ''+ 144--,5; and the online database
>Hi(alayan Art*? Q###+hi(alayanart+orT+ After deter(inin a 'ossible identity for the fiure* I then consulted
any relevant entries in Eo!esh 8handra* Dictionary of Buddhist conogra!hy ")e# DelhiF International Acade(y of
Indian 8ulture and Aditya Pra!ashan* -HH-$* #hich* unfortunately* does not include entries on (ost (on!s or
#ah"siddhas8
16
%ee* for e=a('le* the descri'tion of the (andala devoted to )air;t(y; in %nellrove* The Hevajra Tantra* ''+
0,-05+
10
%ee* for e=a('le* ibid+* '+ 50+
Four-circle Hevajra Mandala 9


The Pulitzer Foundation for the Arts
Reflections of the Buddha

The co('osition of this than!a is bounded at to' and botto( by a reister of fiures de'icted in
arcaded niches+ %uch a co('ositional device see(s to be uniNue to* and ubiNuitous in* %a!ya-school
'aintin fro( the fourteenth throuh seventeenth centuries+
15
%tylistically si(ilar arches9co('osed of
the sa(e ilt* vase-li!e colu(ns* su''orted by lotus 'edestals and su''ortin se(icircular arches*
a(on #hich are de'icted ilt lozenes surrounded by red and reen leaves9(ay be found in a
fifteenth-century 3hXtad;(ara Mandala fro( a central Tibetan %a!ya'a
14
(onastery* no# held in a
'rivate collection+
-H
The than!a fro( the 'rivate collection* ho#ever* a''ears to have been 'ainted
#ith even reater care than the Harvard than!aF the lines are stroner and (ore even* the colors have
been a''lied (ore s(oothly* and the for!s of the foliated fla(es are finer+ Des'ite the differences in
the fineness of the e=ecution of the t#o than!as* they share (any stylistic si(ilarities* 'erha's ivin
further su''ort to the recent re-attribution of the Harvard (andala fro( the seventeenth or eihteenth
century to the fifteenth or si=teenth century+
-1
The lac! of any cloudfor(s or landsca'e ele(ents in the
Harvard (andala9(otifs that a''ear rarely* if ever* in (andalic than!as 'rior to the seventeenth
century9see(s to 'reclude the 'ossibility that this #or! dates fro( a later 'eriod+
--
Indeed* the #or!
'ossesses all of the ele(ents that Prata'aditya Pal enu(erates as hall(ar!s of the %a!ya 'aintin style
fro( the fourteenth throuh seventeenth centuries9na(ely* >"i$ the ubiNuitous use of redY; "ii$ strictly
linear definition of for(; "iii$ e('loy(ent of elaborate shrines #ith ornate colu(ns fro( #hich s'rin
foliate arches Y carryin (ythical creatures such as #a(ara* garuda* Zand[ n"ga Y; "iv$ reisters of
fiures both at the to' and the botto(* enerally clearly se'arated by (iniature shrines of arches and
colu(ns; "v$ and a 'rofusion of subtle* densely 'ac!ed stylized scroll#or! in the bac!round+?
-,


The fiures in the u''er arcade of the 'aintin constitute a sche(atic 'ortrait of the lineae of %a!ya'a
'atriarchs+ It beins at far left #ith the \di-3uddha :ajradhara* the 'ri(ordial bein #ho( the %a!ya'a
consider the 'roenitor of all thins* identifiable by his blue body* as #ell as the vajra and bell that he
holds in his crossed hands+ :ajradhara is follo#ed by )air;t(y;* the second in the Mara'ala lineae of

15
For an overvie# of %a!ya'a 'aintin* see Prata'aditya Pal* Ti'etan 7aintings: A Study of Ti'etan Than(as:
;leventh to 5ineteenth Centuries "3aselF Lavi @u(ar2%otheby Publications* 145/$* ''+ 61-46+
14
The co((on Tibetan suffi= -!a no(inalizes the #ord that it (odifies; hence* >%a!ya'a? can be understood to
sinify >one of the %a!yas+? 8onseNuently* >%a!ya? and >%a!ya'a*? or >Oelu? and >Oelu'a* ? are usually used
interchaneably in Cnlish+
-H
%ee ibid+* 'late ,,+
-1
Infor(ation conveyed by Lobert D+ Mo#ry* Alan 6+ D#ors!y 8urator of 8hinese Art* Harvard Art Museu(s* in
'ersonal conversation* May -H11+
--
%ee Pal* Ti'etan 7aintings* 1-1-1/5+ %eventeenth-century Hevajra (andalas that include such landsca'e
ele(ents are included in ibid+* 'l+ 51-5-+ A nineteenth-century Four-Circle Hevajra Mandala #ith even (ore
e=tensive landsca'e features is 'ictured in Prata'aditya Pal* Divine #ages: Hu#an <isions: The Ma= Tanen'au#
Collection of South Asian and Hi#alayan Art in the 5ational 3allery of Canada "&tta#aF )ational Oallery of 8anada*
1440$* '+ 115+
-,
Pal* Ti'etan 7aintings* 6--6,+ A fifteenth-century Four-Circle Hevajra Mandala is also included in Oiuse''e Tucci*
Ti'etan 7ainted Scrolls "Lo(eF Eibreria dello %tato* 14/4$* 'late -1/; ho#ever* the Nuality of the i(ae 'revents
close e=a(ination of stylistic details+ 6ac!son* The 5e!alese 6egacy* es'+ ''+ 51-40* describes the stylistic features
of %a!ya'a 'aintin #ith even reater 'recision+ Ho#ever* 6ac!son arues that analysis of the de'ictions of
lineaes in (any than!as that #ere assu(ed to be %a!ya #or!s reveals that they #ere s'onsored by other
schools of Tibetan 3uddhis(+ He suests that fro( the (id-fourteenth to (id-fifteenth centuries* Tibetan
3uddhist shared a universal idio( of 'aintin* !no#n as the 3eri style* #hich derived fro( )e'alese sources+
8onseNuently* he ures that reater caution be used #hen s'ecifically identifyin #or!s in the 3eri style as >%a!ya?
than!as+ Oiven the nu(ber of deities closely associated #ith %a!ya school that are included in the Harvard
Hevajra (andala* I a( confident that #e can identify it as a %a!ya #or!+
Four-circle Hevajra Mandala >


The Pulitzer Foundation for the Arts
Reflections of the Buddha
teachins 'assed do#n fro( :ajrdhara to the (e(bers of the %a!ya order+ )air;t(y; is succeeded by
t#elve (on!s* 'resu(ably of the %a!ya order* 'aired as thouh enaed in debate+ .hile the colors of
their robes and s!in* as #ell as their facial features differ* they al(ost all (a!e the dhar#aca(ra-#udr"*
a esture of teachin* fittin for 'atriarchs+

More eclectic is the array of fiures de'icted in the lo#er arcade+ At lo#er rihts sits another (on!*
#earin the sa(e red robe adorned #ith olden flo#er 'etals as (any of the other (on!s in the
'aintin+ He holds t#o lotuses in his hands* #hich for( the dhar#aca(ra-#udr"+ &ne lotus bears a
vajra* and the other* a cho''er "R$9both ritual i('le(ents co((only used in :ajray;na rites+ In the
niche to the (on!<s riht are arrayed a variety of other ritual i('le(ents* included dru(s* cy(bals*
bo#ls* and a conch shell "R$+ %uch a dis'lay of ritual i('le(ents or of offerins can often be found in the
niche ne=t to that #hich de'icts the donor of a than!a* as is li!ely true here+ The ne=t four deities
de'icted are all deities of 'rotection and #ealth co((only venerated by the %a!ya'a+ First is the
MrAdevA DhX(;vatA* a fe(ale deity of 'rotection* #ho* in her %a!ya'a for(* bears a s#ord* s!ull cu'*
s'ear* and trident #hile ridin a don!ey+ %he is the consort of Maha!ala* one of the (ost #idely
venerated deities in Tibet+ In the for( co((only #orshi''ed by the %a!ya'a* he holds a curved !nife
#ith a vajra-li!e hilt and a s!ullcu'; this for(* !no#n as the Panjaranata Maha!ala* is s'ecified as the
'rotector of 'ractitioners of Hevajra rites in the eihteenth cha'ter of <ajra!anjara-tantra* a te=t
translated into Tibetan in the eleventh century that e='lains 'ractices related to the Hevajra-tantra8
$-

The close association of this deity #ith Hevajra uaranteed his hih 'lace in %a!ya 'ractice+ )e=t can be
seen a Kello# 6a(bhala* a od of #ealth identifiable by the je#el-s'e#in (onoose that he holds; and
a #hite fiure of PrajV;';ra(it;* the fe(ale deity of #isdo(+
-5
Finally* the re(ainin eiht dancin
da(in.s* each of #ho( tra('les and a cor'se and* #ith the e=ce'tion of the riht(ost* bears a s!ullcu'
in her riht hand* are the sa(e da(in.s that a''ear in the four Hevajra (andalas above+

The (andalic co('osition e=tends to the reverse of the than!a* as #ell+ There* a three-syllable (antra
consistin of the %ans!rit syllables >&( ah hu(? transliterated in Tibetan letters has been re'eatedly
inscribed* each (antra alinin #ith the 'osition of each fiure on the than!a<s verso+ More 'recisely*
each of these syllables can be understood to alin #ith the head* (outh* and heart of each fiure+
These inscri'tions (iht be seen as e('o#erin the fiures #ith su'ra(undane strenth* a 'ractice
re(iniscent of the install(ent of sli's of 'a'er inscribed #ith (antras inside of scul'tures such as the
6a'anese @a(a!ura-'eriod "1155-1,,,$ Shoto(u taishi nisai10 and the 8hinese Konle-era "1/H--1/-/$
3reen T"r" also on dis'lay in >Leflections of the 3uddha+?
-6



-/
Einrothe and .att* ''+ -66--64+
-5
The 'ae on Panjarnata Maha!ala included in >Hi(alayan Art? asserts that .hite PrajV;';ra(it; is very
i('ortant to the >Hevajra syste( of 'ractice? and suests that the te=tual source for this is the <ajra!anjara-
tantra+ "%ee 6eff .att* >Maha!ala Z3uddhist Protector[ ] Panjarnata ZEord of the Pavilion[*? A'ril -HH1 Zu'dated
Dece(ber -HH4[* Qhtt'F22###+hi(alayanart+or2i(ae+cf(250--0+ht(lT+$ Gnfortunately* I have been unable to
consult a co'y of the <ajra!anjara-tantra and have yet to find other sources to verify his clai(+ .att<s entry on
the Kello# 6a(bhala si(ilarly asserts the i('ortance of this deity in the Hevajra-tantra* thouh I have been unable
to find any references to 6a(bhala in the translation of the tantra that I have+ "6eff .att* >3uddhist DeityF
6a(bhala* Kello# ZMain Pae[*? Auust -H11 Qhtt'F22###+hi(alayanart+or2search2 set+cf(RsetIDS11/HT+$
Presu(ably he only a''ears in co((entaries to the tantra+ )evertheless* I have observed that these deities
freNuently a''ear in Hevajra Mandalas and in %a!ya-school 'aintins (ore enerally+
-6
I than! Euo .enhua * a researcher in Tibetan art at the Palace Museu(* 3eijin* for his hel' in translatin
and inter'retin these inscri'tions+
Four-circle Hevajra Mandala ?


The Pulitzer Foundation for the Arts
Reflections of the Buddha
Des'ite the iconora'hic 'recision of this #or!* it can* li!e (any than!as* be seen as a hihly 'ersonal
'roduction+ Further* the s(allness of this densely 'ac!ed 'aintin (ay be said to belie the reat variety
of functions that it can be understood to have served+ &n the one hand* the (andala confor(s closely
to the te=tual descri'tions of such (andalas in the Hevajra-tantra
$>
; further* it is a very close tanible
analoue to the (ental (andalas evo!ed in the te=t*
-5
and it see(s 'ossible that it (ay have been able
to be used in rituals 'rescribed in the co((entarial literature that accrued around the Hevajra-tantra+
&n the other hand* the inclusion of a reat variety of 'rotective deities associated #ith the %a!ya'a9
and es'ecially the inclusion of so (any (onastic fiures* #ho* it is li!ely* do not a''ear in any of the
co((entarial literature9define this than!a as a #or! (eant for the visualization 'ractices of a
'articular 'atron+ This 'atron both 'aid ho(ae to his teachers by de'ictin the( in the (andala and
'erha's used these sa(e de'ictions as (eans of (a!in a clai( to a 'articular lineae of teachin+ In a
sense* it is a #or! that #as fashioned by the 'atron #hile it si(ultaneously fashioned that sa(e 'atron+
.hile #e (ay not be able to recover the fully the oriinal conte=t fro( this than!a ca(e* the
'ersonalized 'antheon diara((ed in this i(ae 'rovide clues sufficient to allo# us to i(aine
so(ethin of its oriin+


Philli' C+ 3loo(
Ph+D+ 8andidate* De'art(ent of History of Art and Architecture
Harvard Gniversity
Pulitzer Foundation Oraduate %tudent Lesearch Assistant
Harvard Art Museu(s


-0
For e=a('le* %nellrove* The Hevajra Tantra* vol+ 1* '+ 51* (entions the use of a (andala focused on a si=teen-
ar(ed* sna!e-tra('lin Hevajra in a rain-'roducin ritual+
-5
The (ental (andalas are described in ibid+* ''+ 56-64+
Four-circle Hevajra Mandala @


The Pulitzer Foundation for the Arts
Reflections of the Buddha

Publication History
Gn'ublished

Works Consulted

Eo!esh 8handra+ Dictionary of Buddhist conogra!hy+ )e# DelhiF International Acade(y of Indian
8ulture and Aditya Pra!ashan* -HH-+
Clizabeth ten Orotenhuis+ 2a!anese Mandalas: Re!resentations of Sacred 3eogra!hy8 HonoluluF
Gniversity of Ha#ai<i Press* 1444+
>Hi(alayan Art Lesources+? Maintained by the %helley and Donald Lubin Foundation+
Q###+hi(alayanart+orT+
6ohn 8+ Huntinton and Dina 3andel+ The Circle of Bliss: Buddhist Meditational Art+ C=h+ cat+ 8olu(bus
and 8hicaoF 8olu(bus Museu( of Art and %erindia Publications* -HH,+
David P+ 6ac!son+ The 5e!alese 6egacy in Ti'etan 7ainting8 )e# Kor!F Lubin Museu( of Art* -H1H+
Deborah C+ @li(bur-%alter et al+ The Sil( Route and the Dia#ond 7ath+ C=h+ cat+ Eos AnelesF Frederic!
%+ .iht Art Oallery* Gniversity of 8alifornia at Eos Aneles* 145-+
Lob Einrothe and 6eff .att+ De#onic Divine: Hi#alayan Art and Beyond8 C=h+ cat+ )e# Kor!F Lubin
Museu( of Art* -HH/+
Mochizu!i %hin!W + Bu((y0 daijiten + 6 vols+ To!yoF 3u!!yW daijiten ha!!Wjo*
14,1-146,+
)a!a(ura Haji(e + Bu((y0go daijiten + - vols+ To!yoF TW!yW shose!i* 1405+
Prata'aditya Pal+ Divine #ages: Hu#an <isions: The Ma= Tanen'au# Collection of South Asian and
Hi#alayan Art in the 5ational 3allery of Canada8 C=h+ cat+ &tta#aF )ational Oallery of 8anada*
1440+
--+ Ti'etan 7aintings: A Study of Ti'etan Than(as: ;leventh to 5ineteenth Centuries+ 3aselF Lavi
@u(ar2%otheby Publications* 145/+
Marilyn M+ Lhie and Lobert A+ F+ Thur(an+ )isdo# and Co#!assion: The Sacred Art of Ti'et+ C=h+ cat+
%an Francisco and )e# Kor!F Asian Art Museu( in association #ith Harry )+ Abra(s* Inc+* 1441+
--+ )orlds of Transfor#ation: Ti'etan Art of )isdo# and Co#!assion8 C=h+ cat+ )e# Kor!F Tibet House
in association #ith the %helley and Donald Lubin Foundation* 1444+
David E+ %nellrove+ ndo-Ti'etan Buddhis#: ndian Buddhists and Their Ti'etan Successors+ 3ostonF
%ha(bhala* -HH-+
David E+ %nellrove+ The Hevajra Tantra: A Critical Study+ EondonF &=ford Gniversity Press* 1454+
Oiuse''e Tucci+ Ti'etan 7ainted Scrolls8 Lo(eF Eibreria dello %tato* 14/4+