PRINCIPLES OF TIBETAN ART

Illustrations and explanations of Buddhist

Iconography and iconometry
according to the Karma Gardri School

by

GEGA LAMA
master painter of the Karma Gardrl School

VOLUME I

DARJEELING, W. B.
INDIA
1983

RABSEL DAWA

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FOREWORD
Thie 1 a book on the bodily proportion ot aacred figuree, one of the
branohee or the ..nual arte, a dlvlelon of the traditional teohnloal eoiencee
vhich for. one of the five aain flelde o! knovledse.

Tbeee 1lluetrat1one are

the vork of the Llnghan& artht Gep Laaa and the7 are authoritative, having
a their ultiaate eourcee the Sutrae, Tantrae and Practical lnetructione.
Thie !iret publication or theee dravins 1 an aot of eervioe to the Buddhiet
Doctrine, and lt 1 certainly

truwtvort~.

Therefore I have vr1tten th1e

forevord, in order t hftt othere aay energetically etudy and thue carry on the
tradition or artietlc practice 1n an undeteriorated etate, and eo that they
may have confidence in thie book.
With pr yere ror the lncreeee of excellent merit,

TABLE OF OOl'fTEMTS

preface
Introduction
Dedication
Chapter One

'l'be or1dna of the COrapbic &rh of lluddhia

Chapter ho I !.he oQ~tiea of Artist u4 patron

Chapter Three

'l'h"e cberaoterieUca DeterainiDC the Quality of Jaac

ron -

Chapter Four

'l'ha proportione of Jleoeptaolea of

Chapter rtn

The Proportion of Receptacles of Speech -

Chapter Six

Chapter S8'1'8D

Appendb

The Proportiona of Recaptaclee of Mind 1

'fhe leaeDb of CoapoaitionIapleHnta

soae controereial roi.nta 1.n Paintiq

Various Drainc
COlophon

Gar~~enb,

Iaagea
call18J'apb;J

stipu
Bata, Geeturea,

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PREFACE
In explaining arti~tic traditions, there are physical, verbal, and mental
art forms to be conside~ed: this book is concerned with physical media,
particularly the

arts.

g~aphic

It is also concerned with traditional standards,

rather than improvisation; and with the finest

forms, not the more ordinary applications.
sources used seems in order.

expr~ssf.on

of those traditiond

For the1e reasons, a word on tho!

The principal text used was Music to Delight a

Clear Intellect (bLo.gsal.dgyes.pa'i.rol.mo) 0 which synthe~1~es ideas found in

the works of v~rious m~sters -- (th~ eighth Karmapa hierarch) M\~yG Dorje, th~
omniscient But&n (Rinchen nrup>, Menla D&ndrup of Mentang, the regent (of the
fifth Dalai Lama,) Sanqyay Gyatso, and Trengkawa LodrG Zangpo.

These

m~sters

elaborated on earlier sources, sutras and tantras such as the Kalacakratantra

(dPal.dus.kyi.'khor.lo'i.rqyud>, the Mahasamvarodayatantraraja (dPal.sdom.par.
'byuna.ba'i.rqyud), the(?) Kelayamatantra (gSin.rje.nag.po'i.rqyud), and the
~iriputrapariprcch!sutra

(Sa.ri'i.bus.zhus.pa'i.mdo).

Additional sources for

this book were the texts Beautiful Ornaments of th~ Arts (bZo.ria.mdses.pa'i.
kha.rgyan) by LobzanQ Damch& Gy~tso, and Radiant Sun (Rab.asal.fil.ma) by
Hipam Choklay Namgyal.
experience,

influenc~

The oral instructions of my teachers, and my own

my writing of this book as well.

Althouqh the actual

text may differ slightly from the old manuals, I see no contradiction but only
harmony with the spirit of the tradition: there is no confusion or distortion
in what is presented here.
Sprinqwatr, snowmelt, mountain
All come

fr~ th~

ocean

~nd

stre~ms

flov

ba~k

-- different, yet

to

t~~

ocean:

Likewise, distinct traditions of knowledge derivin9 from

1~ian an~

Arise from the tantras

a~

Tibetan m&st-.~s.
harmonize with the spirit of

the tantrl'ls

A word on the 5ystem of datina

different systems put forth

by

u~ed

in this book: there are numerous

scholars; that adopted here for datina the

buddhist er" (B.E.) from the ye!lr of

t~

Buddha's

oarinirv~na

follows the

widely-accepted method of the Theravad~ school of ~rt Lanka. This agrees with
the system expounded by the great scholar of Kashmir (Kha.che.pa!}.chen ~AJcydr!),
and is the same view as that expressed by the former hierarch of the Kaqyu school,
the fourteenth Karmapa (The~.mchog.rdo.rje, 1798-1868). For example, in the
calendar currently in use among Tibetans, the lenqth of time from

th~

year of

the Teacher's ~ss1na until the en~ of the or~sent And sixt~th actual cycle
of sixty y~ars would comprise a total of forty-two such cycles, hypoth~ttcally,
with a

su~plus

of ten yeArs.

Supposin~ th~

first of these cycles had begun with

the fire hare year eleven years after the Teacher's o"sslnq (acc01mt1no for-the
ten-year surplus), the iron blrd year of the nlnth cycle would correspond to the
year of the passinq of Jesus Christ; the. fire ox year of the twentieth cycle,
to the birth of Sanqtsen Gampo, the thirty-third lclng of thO! Tlbo!t:an royal

dynast~~

and the fire hare year of the twenty-seventh cycle, to t~ start of the first

sixty-year cycle 1n the calendar

~lly

1n use nowadays.

Noble character lies in the 11\UIIIinatlon of the depths of

one's experience;
S1c1lfu1 transmission, 1n the continuing leqacy of pr"ecise
intelligence:
With none of these qualities, I am an insignificant PE"oduct
of flf'/ times,
Merely a follower in another's footsteps.
Geqa Lama.

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Itfl'ROOUCTION
It is customary for an author to introduce a book with some background
material. I was born in the iron sheep year of the sixteenth sixty-year
cyele of the Tihetan calendar, that is in 1931, in the small village of
Rinchen Ling, in the upper district of Lingkar in eastern Tibet, to the
east of the birthplace of Lingjay Singchen (an epithet of the semi-legendary
King Gesar). At the aqe of eight I first studied Tihetan calligra~y with
one Lama Drentsay. At eleven years of age I entered the monastery of
Ch~kor Namqyal Ling (Chos.'khor.rnam.rgyal.glin) at Tshabtsha, where I
studied Bud1hist doctrine, and dance, painting, and music. My first actual
lessons in painting I took from the artist ChDkyong when I was sixteen:
although I was immediately and intensely drawn to this medium, I was unable
to

complet~

my studies at Tshabtsha, and so I sought out the artist Tangla

Ts-ang, who was greatly respectea by the last Situ Rinpoche, Payma Wanqchak
Gyalpo (1886-1952). Studying design and proportion and absorbinq his
personal instructions, I became an artist in my own right by the age of
twenty-two. In 1956, Jamgon Payma Drimay (a hiahly-resl)eCted lama of that
area) fores3W the cominq oppression and persecution by the communist forces
of those who would not flee to India or ao into hidlnq, and acting on his

advice I went into hidina.

In

1~5~,

when I came to India, I was forced to

leave behind my books, offering ut~nsils, images, and so forth, together

with most of my paintinq manuals and diagrams, and was only able to carry a
small portion of my possessions. Not realizing at that time whether or not
there was a need for these traditions in India, I put

asi~e

my efforts duto

my lack of confidence, until the buddhist teachinas began to wax like the

moon as interest in them spread throughout the countries of the world. This
demonstrated to me the continuing need for these syst'ems of learning, and
I searched to locate the necessary manuals and diagrams. In 1965 I studied
with the artisan Damche, learning the art of casting images, vajras, bells,
and so forth in bell-metal and bronze. While engaged in these pursuits of
painting and sculpture, I was approached by many people from different baclcgrounds for instruction, and had also comm~tted myself to providing several
of my own students with complete diagrams. Fo~ these reasons, I began
compiling this book in 1979, the earth sheep year of the sixteenth cycle.
In 1981, the task of translating the manuscript into English was undertaken
by Karma ChDchi Nyima (Richard Barron), a Canadian s~udent of Buddhi1111, and
th~ original Tibetan text was edited by the venerable Khenpo Loclro Donyod.
The printing of the book was arranged by my student, J. Sinqe Lama of
Darjeeling, with the assist~nce of Sher&b Gyaltsen of Gangtok, Sikkim.
I wish to express my sincere thanks to all those whose efforts have
made possible the realization of t~is project 1 end I fervently hope that
this work will benefit all Who are inspired by the artistic traditions of
Tibet.
11

In the realm ot

S?ftC~

vhich is unhorn,_unohstructed mind

Forma arise through the dynamic play ot creativity:

Though these may come and go with the passage of time,
To join 1n the artistic dance is

m~gic

unceasing!

Geqa L4ma
Dar~~eling

India.
Sept~ber,

12

1qe1.

13

15

19

21

19
42

52
62

125

13 8

155
172
~ai (9"'~ii=

241

'

259
293

327
333
346
350
359
377

396
4\6
431
445

..

23

CliAPTER

OONTENTS

PAGE

One

33

The Origins of the Graphic Aria of BuddhiBIII

Two

48

The Quali Uea of ArUa't and Patron

Three
FOur

58

The Characteristics Determining the Qualit.y of

73

Section I1 Nirminakii;ya Forma

Tm""'"'

126

Section II1 Sambhogakiya Forma

1.41

Section III: "Wrath:tul Ascetic" Forma

156

Section IV1 Bodhisattva Forma

174

Section V: Feminine Divinit.y Forma

244

Section VI: wrathtul Yama Forma

260

Section VII: Wrathful Yak!!& Forma

294

Section VIll1 Yrathtul Demon Forms

323

Sectio.n IX: srivakaa and Pratyeka l'orma

334

Section Xa Dikpala Forma

346

Section XI: Human Being Fbrm

353

Throne and 'Back-support

Five

363

Receptacles of Speech - Calligrapby

Six

382.

Receptacles of Mind - Stiipaa

Seven

401

Garments

418

Hats

436

ornaments

446

Hang Gestures

456

symbolic Implements held in the hands

469

some Controversial points in Painting

495

Various Drawings

Appendix

2~

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DEDICATION
'l'eacher of gods ud men, n:cellent cuide for all beinca th%ough the aixty
hllriiiOnioua qualities of ~~peach;
VUva(karma), MUJ'QBbopa in actuality, eliaiDatiDC the darbea of
atupiditJ with the radiuce of wiedoa;
S&risvati, joytul. bJ nature, beetovi.ng the wealth of lmowledp 1D a11Ddane
and transcendent endeavoura
Place your banda on 1117 head like a crown (in benediction), and cuide u
until 1117 enlightenment!

The three

emanation of

(~va,

Jlap, Vratbful Yaksa) in

lndia,

(The princess) 'l'aoyi Padmo of China;

The three Taahia of Tibet, the laand of SDowaa
I revere you all, who developed the great artistic traditions.
Rinchen Dralc lPrecioua Clift) in Tibet 1a identical with 'l'saritra (a
place sacred to Cakrasamvara on the Indo-'libetan border) , though a separate
location; sacred to ( Vajra)yoginl and bar heruka oonaoria
On ita elope dwelt the teacher 'l'&DBlha Taewang, who beetowed inspiration
upon artists, gracioual;y imparting hie kDowleclce;
Reaellberhg hie khdneaa, I u IIOVed rith faith.
since the Land of snowa baa sunk into the twi.lit gloo11 of barbari-.,
The aun of the buddha' a doctrine has set be111Dd the weatem muntaha to
ahine again 1D the hol;y oountey (of India);
D.d I, with 1111 pure activation, .a tirefl;y lipreading 1117 tiJV riDge,
.1.11 fortunate to have croaaed the vaat abyaa and to have the aun of the
Yietorioua One a doctrine ab1n1ng on atill.
Aa i t happena, I ua not a uater artist, DOr even an acooapliahe4 ..
ld.Dor artiaan,
!ut one etupil and igDD'ble: one ncb. I haa DO richt to ooapoM
treati on the artaa

Vi~akarlla 1a the patron of buddhist artieta, an eaanatioil of the white ton.

of the bodhisattva Hmja,ri, who gave the artistic traditions to the world.

S9

Jnertbeleaa, takhc as ., ritnesees tboee past ustere who elucidated

Ule iaport of the .Utras a4 tatras,
A:ll4 eabelliehillg '1fT &C00111l't nth oral illstuctions 1 haTe :receind
thzo1ash the kiD.clness of _,. teachere iD the past,
I haTe put together thia book, The Noble vaee of Riches, which hae
eeTa chapteras
the oriciD.s of Ule bu44hist arte iD lll4ia &11.4 Tibet the quali tiee of
artillt a4 patron,
The criteria deterlliniDc quality iD art, three chapters on the act-aal
proportion of the relicioue ~m.bolll,
And a classification of ornaments, gestures, and garments.

CHAPT":R ONE

The Origins of the Graphic Arts

of Bndtihi~m
There are two ltn~s of development to be discussed, Indian an~ Tibetan.
Firstly, when in this universe the lifespan of human beings was in decline
from its original length of one hundred
named Jiktul

('Jig~.thul,

thousan~

years, there

'he who has conquered fear').

~ppeared

When one of

a king

hi~ suhj~ts,

a brahmin boy, died the father appro11ched the king with the supplication, "It
is due to your not ruling this kingdom in accordance with the dharma that my son
h11s met with this untimely death." The king went forthwith from the brahmin to
Yama, the lord of the dead, in whose

a~~some

and

bla~ing

presence he rendered

hcmage and demanded, "Please give me bade the life of this brahmin's son."
The lord of death replied, "It was not my doing (that caused his death), but
the exhaustion of his own lcarma."

With the king insisting, "Give him over!"

and the lord of death replying, "It is not fitting to do so," they qu11rrelled
to the point of blows.

Thereupon, the qod Brahma appeared, sayin<J, "When an

individu11l's karma is exhausted, no blame

c~

be attached to the lord of death.

However, dl:'aw me a likeness of this brahmin youth!"

The ldng drew an exact

likeness of the boy, which Brahma blessed, causing it to come to life and
sending (the thus-resurrectP.d boy) back to his father the brahmin.
and the lord of death were dumhfounded and awestruck.

The king

Henceforth, the Icing

was given the title of "the first artist''; at one ooint, he visi t~d the realm
of the Drahma q~s to request instruction in the graphic arts.

The ruler of

the Brahma aods and VHvalc:arma both impressed upon him the importance of these
arts with the

word~,

"Most excellent of mountains is Sumeru; foremost among

the egq-born iS the eagle; supreme among men is the emperor; likewise, foremost
among skills are the graphic arts"; and, "0 king, in this way all other skills
and crafts depend upon the artist's."

They based (their nresentation of)

correct proportion mainly upon the ideal fora of a universal monarch, and set
forth the faults of lack of proportion and the benefits and merits of correct
proportion, and so on. The scienee of arts and erafts developed from this,
with the first human proponent being King Jilc:tul.
Even before the Buddha appeared, this tradition had given rise to styles
of painting and drawing, sublime ways of depicting experiences and impressions
of the inanimate and animate universe. ~ the time of the teaeher Hunindra
(Sikyamuni Buddha), the example of his deeds provided inspiration for a higher
purposes to symbolize his physical, verbal, and mental being in both paintings
and sculptures.

For example, when the teachP.r Hunindra was born ln the LUI'Ibinl

grove, his father King

lotuses".

~uddhod3na

erected a stopa in a style known as "heaped

This was the first symbol or receDtacle (Tib. rten) based upon the

Buddha's inspiration: others were created gradually (throughout his life), up

until the stupa known as the "octaqonal style" eri!Cted by King Bimbu:lra and
others (to enshrine the Buddha's relics).
As far as representations of the form (of the Buddha), these are of two

41

k~:

paintinga and aculptures. The painted 1nlage hacs its origin in the
country of Magac!ha 11\ oentral Xndia (IIOdem B1har). Two kings of Magadha,
Bs..blsira and Utrayana, were in the habit of exchanging presents.

At one

point, in response to King Utrayanas presentation of a priceless gem mounted

among 11111aller stones, King B1mb1aira conceived the idea of presenting his ally
with. a painted portrait of their teacher 1 Lord Buddha.

But the artist was so

overwhelmed by the splendour of the Buddha that he could not draw when looking
at hllll directly.

When the situation was presented to the Buddha, he said, "Let,

ua go together to the banlc of a clear and limpid pool";. whereupon the Buddha
sat hllllaelf by the banlc of the pool, while the artist sketched his drawing baaed
upon the reflection on the water's surface, .urrounding the central figure
with. designs symbolizing the twelve nidanu Clinics of interdependent causality>.
When utrayana

a~erely

glanced at this portrait for the first time, he had an

intuitive understanding of reality.

This particular style became lcnown as "the

llllage of the Saqe talcen f'rcn (a reflection

Another story

conc~s

city of Kapllavaatu.

In)

water" (thub.pa.chu.len.ma).

a time when the Blessed One was teachin9 in the

One Icing. of the time was Hahinama, whose queen had a

aidsenant nUied Rohita, whom she dispatched to the Buddha with an offering
of a neclclace of j - l s .

coWherd

On the road the maid was waylaid and Jcllled by a

girl: due to her faith in the Buddha, Rohita immediately toolc rebirth,

being conceived 1n the womb of the queen of the ~rl Lanlcan Icing.

There was a

shower of pearls at the birth of' the child, who was therefore named Pearl Throne
(Mu.tlg.lchri.U!Jo)

When the princess was a young girl, she heard of the deeds

of the Buddha and was llloved to faith, and so she sent hl.m an offering of three
measures of

pear~s

and a letter.

In reply, the Teacher sent baclc a portrait of

hllllaelf' .urrounded by a halo of light, druwn by an artist on a canvas: upon seeing

this, the princess had a profound experience.

This style became lcnown as "the

radiant Sage'' (thub.pa.'od.zer.ma).

These two stories represent the origins of painted llllages: a discuasion
follows which describes the tnoro variations in these explanations.
The art of buddhist s~l pture began with Anlthapit;~c:lika (a weal thy patron),
Who one day invited the Buddha and his IIIOftlcs to a noonday meal.

When he noticed

that the Buddha had declined the invitation and was not leading the assembly,
he aslced the Teacher for permisslon_to have erected a statue made of precious
substances, complete ln every detail: #;his became Jcnown as "the precious Teacher"
(rin.chen.ston.pa).
. When the Blessed One had departed for the

Triyastr~a

heaven (to instruct

the reetflbodllllent of his mother), the .ting of Varanasl had 111ade a sandalwood
iluge of the Buddha for his personal devotions.

It is said that when the Buddha

descended aqain to the hunlan realm from the gods' sphere, this statue toolc six
stepa ln welcome: whereupon the Blessed One ordered it, "Go to China to sanctify
that country!"
1a

aup~ed

This statue, Jcnown as "the Sandalwood Lord" (tsan.dan.jo.bo),

to have then flown throu9h the air to China.

These two incidents aarlt the origins of sculpturing l:Qcldhist illlages.

Even

in China, styles of painting and sculpture developed based upon these models.

42

in his life,

L~ter

th~ Ole~~~

One

him~elf

qave

pP.rmi~ston

for images to

be made of his likmess, in order to c;ruide holders of extrP.me v1.e.oftl. l!llhula

(the Buddha's son and on~ of his discipl~sl fashion~ a statue of the Buddha
~Akyamuni'~ sambhogak~ya form, Vairoeana (known in Tihetan as rnam.~nan.qans.
chen.mtsho' l, made form many precioull jewels from the naga realm: this iulaqe ls
said to reside in the outer ocean.
At another point, ~akra, the lord of the Triyastrlm~a gods, was preparing
to erect a statU'!! of the Teacher in precious
(the celf!st.ial artban) w11s unl!ble to

~~~etals

determin~

and jewels, but

VUvalcar~~~a

correctly the -.asure of the

Teacher's foot; thinking of thP. Buddha and prayin~ to him, he arrived in the
Teacher's presence. Tooether with a number of divine artisans, he then
fashioned several imaqes of the Buddha at various stages of his life -- at
eiqht, t-lve, and twenty-five
statues by
was
him

b~th!ng

ye~trs

of age.

them in his radiance.

The Teacher himself blessed these

The statue of him at age twenty-five

to the gods' realm, tbat of him a~ age twelve to China, and that of
<'ll;;e ei<Jht to r:enal. They reaain~ in those places for many years, after

t~lcen
.~tt

which

th~

of King

htter two were brou(jht to Tihet (by the Chinese and Nepalese queens

~onqtsen

Gampol and enshrined in the temples of Rasa and RIIIIIOChe (in

Lhl'lsa).
After the parinirvana of the TP.&cher, there were few exceptional artisan
amon'l ordinary human he!n<JS 1 so

m~ny

city of

three brahmin brothers: the eldest, named

~a'J5dha,

there

appear~

divine

artisan~

emanated as humans.

Gyalwa (rGyal.ba, 5lct .Jina, "Vlct:or"), erected a temrl'! and an im.11ge

of precious stones at Sarn'lth, near

Varan~sl,

whera the

~d~be

In the

fashion~!<!

first taught;

the middle brother, Lf!lc:gyal (Legs.r!JYal, Slc:t. Sadhujina, "t;xcellent Victor")

erected a temrlP.
~re.11t

holy

(modern

an~ ~~

plac~s

Ra1~1r

tma<Je of the

of Duddhism, at

in Bihar); and

te~che~, m~de

t~e 83~too

of earth from the eight

Grove (Venuvana) in Rajaqrha

th~ ynun~eGt, th~

brahmin Gaywa (dGe.ba, Skt.

Kusala, "Virtue"), erP.ctro an lm1<Je of the T~!oilCher at the moment of his

attainment of supreme enliSht~nment, in thP. s~nctu~ry at Bodh Gaya. From the
ti.J:i.P. of t:~P.se thr"!e '"'rotners, tros('lit1onG of buddhist paintinl], sculpture, and
temple d'!sign ~ca~ widespread, an1 ~dhist patrons commissioned many
statues

an~

structures.

All of this activity took place within one

hund~ed

of the Teacher's parinirvina. During the rei~ of the buddhist king

Asolca, many artisans who were nagas (serpent ~ods) or yalc:,as (non-human
ye~rs

trol1-1llce crP.atures), that is, of non--human or semi-divine origin, develo~

innovative styles in the forms of statues a~ stupa~: these were ~epresented
by the statues and structures at Bodh Gaya, and the stupas P.rP.Ct'!~ at majOr
buddhist holy pl~ces.
In later times, dur!n1 the reign o{ King Sanayay Chok (SanK.rgyas.phyoga,
Slct. ?llwldha~Uo:), 11n artisan nam~ Bimbasi!ira fntroduce-3 marvelOOJs styles of
sculrtu~"!

artists.

osnd posintin!J whic':h wert! reminiscent of thosfl! of earlier ''divine"

til!! numerou!l follOW'!!rs boc:- lcno-..m as the "lineage of cUvine artisu".

anti he btmself, having been born lr1 M11gadha. was c:all"!d "the artist fr0111 the
CP.nt:r'll country".

4S

Again, during the re1gn of a Kin9 Ngan9tsul (Nan.tshul)

f~om

the region of Marn, known

who was

inc~edibly

~s T~engd~in

an artist

(Phren.'dzin, Skt. ?Maladhara),

skilled in.buddhist iconoQrAphic

and sculpture, which resembled that of the

a~peared

His style of

a~t.

ynk~a n~tists,

p~inting

became known as the

"west"!l"n ,.;tyl<!" or the "he.u-~ of the west".

nu~ing

region of

the rei~s of Kin~s Devapala and ~rldharmapala an artist f~om the

Vn~ent~a ~amed

Ohemnn and his son, Vitsali,

appe~ed .

These two

developed numerous styles in casting, reliP.f work,. and sculpture, which bore
resemblance to the styles of na'J" artists.

Father and son estAhli,hed two

distinct styles of artistic

~on establi,.;hin~

~engal:

their

the

exp~e,.;sion,

himself in

of art thr-ou'Jhout India, hut the style

followe~s C~"!ilted wo~ks

became known as that of the "god of the east" (i.e. the son in Bengal),
of the artisan's origins.

rega~dless

In paintin'J, the 1ather's school became

1clent1t1ed 111 the "!ll!ltJ:'n r:hnol", and the aon as r.tt"' "7"ntJ:'Ol 3Chool"
(since his followers were located in Magadha).

In the lineages of Pukon and

southern India, three artists-- Gyalwa (rGyal.ba, Skt. Jina) 1 Shenlay Gyalwa
Nampa~

(gZhan.las.rgyal.ba, Skt. Paranjaya), and

Skt.

V11~ya)

Gyalcta

(~Nam.p~.rgyal.ba,

-- developed styles of paintina and sculpture which were widely

imitated.
Tr~ngdzin)

The influence of the western painting style (of

in Nepal, where

was much felt

developed an actual Nepalese style of painting, and a

the~e

mixed Indo-Nepalese style.

Althouqh most latter-day castin1s resemble the
and Vitsali), these eventually

beca~

Nowadays, although one sees paintings in the

Nepalese styles, the true
The

west"!~n

Ne~lese

easte~n ~tyle

style

Indo-N~ral~,.;e

se~ms

ve~y rar~.

style of painting Also became

widespr~ild

in

(of Dheman

~iven

impossible to asSign to a

school.

anrl Tibeto-

K~shmir;

the~e,

a new style that became knrn-m a!! the "Kashmir! school" wAs developed by a
King Hasu, using elements from both the central and the westP.rn styles.
The development of painting in Tibet
and Menri

(sMah.b~isl.

paint1n~,

the

First

latte~

The

forme~ h~s

its

too~

two forms,

o~i7ins

in

th~

Gad~i (sGar.b~isl

Chinese schools of

in the Nepalese.

came the Chinese influP.nces in the

(S~on~.btsan.sgam.po),

the religious

early seventh century A.D., was

an

kin~

~raphic

arts.

of the Land of Snows

Son?tsen Garnpo
durin~

accomplished innovator in many

realizin9 the necessity of takinq the Chinese

p~incess

Kon3jo as his queen

in order to facilitate the introduction of Ruddhism into Tibet, he

various means to arrange the union.
were

brou~ht

the

fi~lds:

employ~

Nhen she was escorted to Tibet, in advance

a statue of Lord Sakyamuni Buddha and other very sacred images,

as well as medical texts as a kind of introduction of buddhist doctrine.

The~e

are

biog~aphy

oume~ous

references to this in the dynastic

reco~ds

and the royal

of Songtsen Gampo:
Together with texts of eighteen sciences such as Porthang
(astrological texts) and so on,

44

and
Sixty artistic works and so forth,
and
From China and

Miny~lc

(on the Sino-Tibetan bOrder)

in the east

Were brought artistic and astrological works.

In any event, the Chinese princess (known in Tihetan as) Tsoyi Padmo, who
was considered an emanation of the noble Tirl, had the foresight to realize
the necessity and benefit for Tibet of hringing the traditions of Chinese art
in general, and buddhist art in particular. These latter traditions began
with the erection of the Sai-wai-qSi temple one hundred and ten years after
the parinirvana of the Buddha. It appears that many skilled Chinese artists
accompAnied her on her journey, as evidenc~ by the carving in stone of the
extensive

Pr~1napara~itasutra

in one hundred

th~sand

verses, and the Ary8-

bhadrac~ryapra~idhanaraja

(a p6pular mahayan~ prayer of aspiration) at Dema

(lDe.mA) cliff; and by the ei9hty-c:ubit statue of Maitreya Bodhisattva er~ed
at Jadur Langna (Bya.dur.qlan.snR). Yn addition, on the upper ridqe of Dsek~
(mDses.khogl, not far from my own birthplace, three relief carvings of buddhas,
each about a cubit in heiqht, were discovered in 1944, a small fissure having
cracked open from rainfall erosion to reveal the roc:k face.

When these were

examined by experts, it was possible to identify them as an example of the

various religious objects which this Chinese

pr~cess

had placed in each of

the various districts through which she passed: I myself have seen these
statues. Although these represent the earliest traditions of buddhist art
in Tibet, these traditions were not widespread, due to the Chinese princess
having to spend much time travelling around (with no time for long-term projects),
and due to the lack of previous indigenous traditions of buddhist art (on
Which to build).
Moreover, there are many stories which support this theory: of the
princess havinq erected many edifices on her travels; of her progress having
been held up by the machinations of the minister Gar (mGar)' and of her
custom of erecting. a monument in each district through which she passed.
These would, however, take too much space to relate here. The point is that
the princess Kongjo herself was the one initially to introduce buddhist
artistic traditions to Tibet.

She first entered Tibetan territory in the year

1184 B.E., i.e. 641 A.D.

She then used a divination method to determine the

site for building of temples such as that of T.radruk (Phra.brug) and initiated
the construction.

The traditions of painting and sculpture which she

encouraged spread widely throughout central and eastern Tibet.

The Nepalese influences were introduced during the reign of King Triral
(Khri.ral.pa.canl, who was born in 1410 B.E., or 866 A.D. During the early
part of his life, When the temple of Tashi Gaypel (bKra.6is.dqe.'phel) was
being built, he summoned many Nepalese artisans and put them to work constructing
the temple. Due to this influence, the Nepalese style developed in central and
western Tibet.

45

One thousand eight hundred and eighty-nine years after the Buddha's parinirviQa, or in 1!45 A.D., the terton (gter.ston, a revealer of teachir.gs concealed
Padmasambhava or one of his close disciples) Orgyen Lingpa (O.rgyan.gltn.pa)

by

revealed.aome texts l!..:plaining graphic design from their place of

concealm~nt

at Crystal Cliff (Sel.brag) in Yarlung (Yar.kluns, in the valley of the Tsangpo

(Brahmaputra) river in southern Tibet).

However, this tradition developed very

little, was absorbed into the two earlier traditions (of Chinese and Nepalese
styles), and never emerged as a distinct style in its own right. A teacher
naMed Taktsang Lotsawa (sTag.tshan.lo.tsa.ba) made a pilgrimage to uodh Gaya,
where he made a print of the central statue there by soaking it with saffron
water and pressing cloth over the surface: it ls said that his miraculous
powers caused this cloth print to extend its hands in blessing to those who
viewed it. This print was used as an example for Tibetan artists, but this
style became mixed with the Gadri and Henri schools.
In 1440 A.D., one thousand nine hundred and eighty-four years after the
Buddha's parinirvina, Menla Oendrup

(sMan.lha.~on.grub)

was born in Lhodrak

Hentang (Lho.brag.sman.than, in southern Tibet); a very learned individual, he

left his homeland due to differences with his wife and went to Tsang province
(south-central Tibet).

There he met an artist named

Dh~pa

Tashi Gyatso (Dho.

pa bKra.,is.rqya.mtsho) who was an expert in the Nepalese style.

After studying

painting with him, Menla DCndrup revised the standards of proportion for the
various religious motifs, composition and design, and developed new pigments
and texture techniques: this new style he developed and spread was called
"Menri", or the "style of Men" (sMan.bris), either after his name, Menla, or
after his place of origin, Hentang.

SOme refer to his as the "southern style"

(Lho.bris), since Mentang was a district of Lhodrak in sou~ern Tibet; they

assign the name on the basis of which major region of Tibet was the source of
the tradition. The most commonly accepted desiqnation, thouoh, is Menri. It
appears that this style was carried on by Menla oendrup's son, Jamyang ('Jam.
dbyans), and his nephew, Shiwa ~ (Zhi.ba.'od). At about the same time,
Khyentse Chenmo (mKhyen.brtse.chen.mo), who was bo~n in Gangkar Gangte (Gans.
dkar .sgan.stod), developed a style which digressed from previo11s artistic
traditions.

These two styles, Henri and Khyenri (mKhyen.bris), became distinct

traditions. In 2189 B.E., that is in 1645 A.D., the incarnate master ChBying
Gyatso (Chos.dbylns.rgya.mtsho) was born in the province of Tsang in south
central Tibet.

His style became based on the Henri, with innovations in style,

pigment, and texture, so that the school which developed was given the name
of "Hensar", or the "new Men(ri)" (sMan.gsar); it is also called the "Tsang
style" after his birthplace.

This style became very popular in western Tibet.

The incarnate artist Namka Tashi (Nam.mkha' .bkra.sis) was born in upper
Yarlung in 2044 B.t., or 1500 A.D. In accordance with the prophecy of the
eighth Karmapa hierarch MikyB Dorje (Hi.bskyod.rdo.rje, 1507-1554) that this
person waa his emanation who would extend his (the Karmapas) influence, Namka
Tashi studied with KCnchok Penday (dKon.mchog.phen.bde), who was himself

46

considered an emanation of the Chinese princess Kongjo; from Kenchok Pendsy,

he learned the ~t.ric~ proportions as laid down by the Sharli (~ar.ll, the
"eastern casting method") of India. He was also ins tructed by the fifth
Shamarpa hierarch, K~nchok Yenlak (dKon.mchog.yan.lag, 1525-1583), and the
fourth Gyaltsap Rinpoche Drakpa n~ndrup (Grags.pa.don.grub, 1550-1617), to
paint in a distinctive style.

This style was to be based upon numerous

examples: the Chinese scroll-painting offered to the fifth Karmapa hierarch

Deshin Shekpa

(De.bzhin.g~egs.pa,

1184-1415) by the Hing emperor Yung Lo of

China; the masks drawn by a crowd of artisans.witness to the miracle when

Ran~junq

Dorje

the third Karmapa hierarch, 1284-1339)

(R~.byu~.rdo.rje,

showed his face in the full

m~

to the emperor -- which masks are called

"dashelma" ( zla.zhal.ma, "the face in the moon") 1 and a Chinese tanka or

scroll painting called "Yerwa Rawama" depicting the sixteen arhats of early
buddhist tradition.

Furthermore, they directed, this style was to incorporate

elements from three countries: the forms to be in accordance with the Indian
standards, the colouring and textures to be by the Chinese method, and the
comoosition to be in the Tibetan manner.

The artistic tradition Which Namka

Tashi thus established based upon these instructions became known as the
"Karma Gadri" (Karma.sgar.hris), or the "camp style of the Karma (Kagyu school)".
The word "camp" (sqar) in the n!llfte refers to the custom of the early

Kan~apa

hierarchs, particularly the seventh ChOdrak Gyatso (Chos.grags.rgya.mtsho,

1454-1506), of

ta~ing

retinues of hundreds of people and travelling from

place to place with supplies and baggage loaded on horses and mules.

At

resting points camps of felt tents were used as lodgings; due to the size of
these tents, the temporary settlements were referred to as the "huge
reliqious encampments of the Karma(pa)", or the "huge camp Which adorns the
world".

The customs and traditions Which developed from this beeilllle the

so-called "camp culture", and 1n particular the painting was known as the
"eamp style".
At a certain J)oint, an artist

Ch~

Tashi (Chos.bkr'a.s:ls) appeared Who

followed this Gadri style and spread it widely.

Later on, another who propagated

the virtues and distinct elements of the Gadri school was KashO Karma Tashi
(Ka.sod.Ka=a.bkr'a.!lis).

These then, in brief, are the "three Tashis", Who

extensively developed the Gadri traditions, which have lasted until the pre~ent
day. The three emanations of (the bodhisattvas of the three) families in central
. India; the three ~inas (i.e., Gyalwa, Shenlay Gyalwa, and Nampar Gyalwa) of
southern India; and the three Tashis of the Land of Snows: the contributions
of these nine

inc~nate

master artisans to the develooment of buddhi$t art is

incalculable.
Dakpo Rabjam Tenpay

Gyalt~~n

(Dvags.po.rab.'byams.pA bsTan.pa'i.rgyal.

mtshan) wa~ a learn~ and accomplished mast~r. from Nyak Nyilun~ (Nag.ni.klun);
his skill at the proportions of thP. threP. kinrts of religious
a~d

ima~es ~nrt

so forth --

w~s cons\~mate.

~ym~ols

--

$t~tuP.s

The artistic lineage fmtndPd by

this artist merqP.d with tbG tradi~ion of Na~~~ Tas,i, ~nd so became indistinguishable from the Gadri school and was nPvP.r a distinr.t tr~dition.

47

Still later, there

appear~d

an artizt

1n the Gadri

skill~d

~~yl~,

po.sse:;sad of an incomparable intelle<:t, who was r-epute<l to he an emanation

of the

ei~hth

Karm"r"

(~:ilcy~

Sidral (Karma.srid.bral) and

arti~ts

Dorjel, anrl who

Gamny~n

wa~

known variously as Karma

(sGam.smyon).

Although he and many other

such as Karma Rinchen developed a second Gadri style, this tradition

is no longer extant.
The tenth Karmapa,
born in 2148 D.E.

ChByin~

Durin~

Dorje (Chos.dbytns.rdo.rje, 1604-1674), was

the early part of his life, he studied all the

available techniques of the Menri style from Lhodralc Tulku Tserinq

(Lho.brag~

sprul.sku.tshe.rinl; while later in his life he established an insurpassable

style in Tibet, havincr also incorporated elements of painting and sculpture
from the Chinese scroll-paintina and Gadri styles.

The later

paintin~

technique which emerged from the genius of the omniscient Tsuklak ChOicyi
Nangwa

and which was not in fact different

(gTsug.lag.chos.lcyi.sna~.ba),

from that of the three Tashis, was truly marvellous, like some magical vision
which defied conventional definition.

This particularly.exalted tradition

was widespread in the eastern Tibetan re;jions of Nangchen an<i Derge (sDe.dge).
Particularly in the regions of Karmay GBnchen (Karma'i.dgon.chen, one of the
principal monasteries of the Kagyu school in eastern Tibet) and
were many skilled statue-makers and painters called "KarshO"

Ch~mdo,

there

(Kar.~od);

these

were, for thP. most part, proponents of the Gadri style.

My own teacher,

Tan~la

Tsewang (Than.lha.tshe.dban), was born in the

region of Arap in Derge Palyul (sDe.dge.dpal.yul) in eastern Tibet in the

year 2446 B.E. or 1902 A.D.

Gifted from an early age, he was

ar~istically

inclined 11nd studied many artistic media such as painting and sculpture under
two

acc~plished G~dri

masters, War! Lama LodrO (Wag.ri bLa.ma.blo.gros). who

excelled at drawin9, and Payma Rabten (Pad.ma.rab.brtanl, a holder of the Karsh~

linea~e

-'hO excelll!d 'rn colouring.

the arts, he spent

~~s

Situ Rinpoche\ Payma

Beslnning with this extensive training in

entire life in ceaseless creative activity.

\~angchalc

The previous

Gyalpo (Pad.ma.dban.phyag.rgyal.pol, conferred

the honour.on Tangla Tsewang of remarking that his paintings were so good as
to be fit to be installed on shrines even without being formally consecrated
. Whoever viewed h-is work, whether they were discerning persons or not, found
the forms illuminl'lting.

Because his work was completely in accord with the

import of the sutras and tantras, it was accepted as authentic by all.

ThQ arts of sculpture
the

rei~n

of King

~ongtsen

an~ ca~ting develop~d

i.n several phases.

Gampo, the temple of Rasa

During

Trulnan~ (Ra.~a.'phrul.

snan, in Lhas~f an~ the images af Tradr.uk (Fhra.'brug) were c~nstructed in

1186_j.F.. (i.e.

~4~

A.D.) as the earliest evidence.

Images dating from this

periOd were executed by Indian and Nepalese artisans, and some are of natural
origin.

In 1354 B.&. (810 A.D.) of King Trisong Detsan (Khri.sron.lde'u.

btsan)'s reign, Guru Padmasambhava came to Tibet from India and oversaw the
construction of Mingyur Lhunayidrupa temple (Mi.'gyur.lhun.gyis.grub.pa'i.
gtsug.la~J.khan) at Samye (bSam.yas, th first moM~tic centre in Tibet); and
durin~

48

Tri Ralpachen (Khri.ral.pa.can)'s reign, the temple of Tashi Gaypel

wu constructed.

On both these occasions many Nepalese artists

to work on the projects 1 and

sculpting in

cla.~

fro~

var:e IIUIIII!Oned

their influence sprang the traditions of

mixed with llledictnal herbs, and casting in such precious

metals as bell-tal ( 11) and COJ>Jler.

Two later devf!lOJ>erS of these arts

were ';he incarnate_ craftsman Leuchungpa \sLe'u.chuft.pa.) and Payma Kharpa

(Pad.ma.'lchar.pa); and in 1700 A.D., the "Deaf lltlte of E" (E.pa.lkugs.'j)ll)
and the incarnate artist Baptro (Bab.khro) 1 both considered to be divinely
inspired, encouraged a style which employed the traditional forMS of India.
In these arts of sculpture and casting, there is no difference between the
styles of Gadri and Menri.
Techniques of bas-relief carvinas ln stone and wood, tapestries, and
embroidery all were derived from existing Chinese traditions; but tapestry
work never became widespread in Tibet.
'l'he flower garlands of legends of holy ons or old
Are necklaces to adorn the throats of youthful followers:
Oevotees dance and sing enchantinoly

On the stage of the blooming lotus grove of the Sage's

doctrine.

49

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56

CHAPTER T'tiO
Th~

Qualities of Artist and Patron

Firstly, there are aspects to an artist's character which may be

shortcomings or strong points. An example of the former is to engage in
art, whether for one's own or another's benefit, by haughtily presuming

oneself to be an artist even though one is ignorant of drawing

techni~le,

proportion, and canonical descriptions of the divinities one is portraying.

It is likewiGe reprehensible to deceive ot~ers with all kinds of misguided
hyperbole which contradicts the soirit of the traditional scriptures and the
wisdom of the lineage; to present as authentic anything which has no basis in
artistic or religious tradition, ancient or modern; or to pass judgement on
a work of art wtth no knowledge of its origins or the artist's qualifications.
It is also blameworthy for an artist to be at odds with his patrons, or to
exploit a good relationship with them in order to secure personal gain.

Any

of the following traits are considered shortcomings in an artist's character:

being harsh-spoken of taciturn; coveting others wealth, demanding remuneration
and charging exorbitant fees, even to the point of stealing out of insatiable
greed; partaking indiscriminately of unconsecrated meat and alcohol; being
oversensitive and demanding regarding one's working conditions, or working
hastily and without due care; being quick to anger at the slightest provocation; or being overtall<:ative and profane.

One must have respect for the

divinities one portrays, and not treat the subject matter casually or with
contempt; and one should not be sloppy by failing to correct any mistakes or
omissions of which one is aware, nor neglectful by allowing one model to apply
everywhere due to one's lack of discrimination between subject material of
higher and lower tantras.

Even someone who is an artist in name only must

strenuously avoid such faults.

An artist who ho11s such fli!IWS in his charac:ter

cannot develop his creative talent. As is stated in the Discourse Requested

by Paljor ayatso (dPal.'byor.rqya.mtshos.zhus.pa'i.mdo):
The profane and garrulous turn good acts into evil ones:
An artist shuna such flawed personalities.
Regarding an artist's worthy qualities, these are to be skilled in
drawing; to be well-versed in correct proportion; t., maintain properly the
lineage of artistic transmission and technique; to discriminate between
subject matter of higher and lower tantras, and to understand the distinguishcharacteristics of ~aceful and wrathful divinities; and to portray faithfully the elements of composition - ornaments, gestures, and so forth - just
i~g

as they are set forth in the appropriate canonical descriptions.

An artist

should be of restrained disposition, with respect for the divine he portrays;

compassionate and patient in the face of hard workin9 conditions and criticism;
skilled in the arts, yet without vanity reaarding his skill; slow to anger and
suspicion, and with little concern for the wealth and sUbstance of others. He
should follow his patron's instructions with01Jt deceit. When portraying the
.1117

passionless form (of the Buddha), or divinities of the outer tantras, he

should bathe regularly and be scrupulous in his cond~ct, keeping the precepts
of lay ordination (assuminq he is not an ordained monk): when portraying
divinities of the inner tantraa, he DIUSt have received the appropriate empowerment and be maintaining the corrmitments thereof, ideally performinq the
meditation daily or at least reciting themantra of the divinity continually.
At the start of a project, he should perform a ceremony to el1min11te all
potential obstacles: meditating himself in the form of the appropriate
I
protective divinity, the artist purifies the canvas; next, visualizing himself in the forms of the buddhas of the flve families, or of Vairocana (the
buddha of the central buddha family), he consecrates the pigments and brushes
in a particular ceremony. Then he must be able to paint in gold, !."1 the CIIDtre
of the canvas, the seed-syllable of the divinity in question, surrounded by

the mantra, as explained in the appropriate tantra. .Until the project is

ccmpleted, he liiUSt be able to devote unceasingly energy to it, without
procrastinatloru and when it h~s been completed, he should know how to
explain ita qualities in order to gladden the patron, and to dedicate the
virtue of the endeavour for the welfare of others in a spirit of celebration.
SUch a gifted artist has been described in the Verses of Selgyal (gSal.rgyal.
gyi.tshigs.su.bcad.pa, Kanjur Sutra vol. Sa, folio 201):
Whoever portrays the form of the Victorious One,
They shall achieve attractive and noble ferms (of rebirth),
Control of the senses, erudition, sun-like radiance,
And will be lovely to behold in the world's eye.
And fC'OIII

the same work:

Whoever portrays the form of the Sugata,
Their body will be flawless and
As soft and relaxed as the heart of a lotus.
They will be free from disease, pain, suffering, and fear.
Whoever portrays the form of the Lord Protector of the universe
Will not become servile or at another's beck and call,
Nor become poor or of low station;
Nor will their senses become impaired.
People who portray the Buddha or construct stiipas
Will have strong.constitutions, without pain,
Will have excellent wealth and control over riches,

And they will overcome all enemies.

And

fraa~

the Kanjur Sutra section, vol. sa, folio 203:

People who, joyfully and with devotion,
Labour to produce
Sttlpas and ialages
Will have exceedingly vast riches in all

llv~~.

Suc-h, according to tradition, is a flawless master artist.

51

Further, from

the Nar.rative Concerning the Power of Merit (bSod.nams.kyi.stobs.kyi.rtogs.brjod,

Kanlur Sutra, vol. A~, folio 9):
An artist, even though he be of low station, is without doubt
honoured by kings and ministers, brahmins and householders
alike.
And
Those engaged in various arts
Are honoured by gods and men.
Furthermore, this ideal of the master artist as a holy individual 1s set
forth in a number of works, such as the Dad.stobs.hsky~.'luq.phyag.rgya'i.mdo,
the Discourse Requested by ~!riputra (~i.ri'i.bus.%hus.pe'i.mdo), the Discourse
Requested by Zangkyong (bZan.skyon.gis.zhus.pa'i.mdo), the Discourse Requested
by Lodre Gyatso
Manju~rl

(bLo.gros.rgya.mt~hos.zhus.pai.mdo),

('Jam.dpal.qyis.zhus.lan).

and the Replies to

In conclusion:

Anointed by the words of the incomparahle saqe;

Honoured with devotion by bP.inqs of all kinds;
ReverP.d in son9s of praise by gods and men:
Such is a true master of the arts, not just one in name

Secondly, a patron of the arts may have shortcomings or 9ood qualities in

charactP~.
A bad patron is one who lacks by nature a healthy fear of evil acts,
regardless of his station in life; who has little faith or reRpect for spiritual
ideals and symbols; sees no benefit in constructing images, stupas, etc., and
doesn't believe even when the benefits are explained; has no desire to commission
the

con~tructlon

of religious receptacles, or only superficial motivation

mixed up with worldly concerns such dS the wish for fame in this life, or to
outdo others; is stingy and deceitful, holding back the things necesRary for
completin9 a project; is contemptuous of spiritual art and artists, not unda~
standinq their worth; is impatient and short-tempered at even the slightest
delay in work; angrily criticizes the artist for

ta~inq

pains with his work;

and fatls to see the artist's special status, treating him instead like a
common lahourer.

A miser who inwardly begrudqes the least expense while making

a show of 9enerous patronaqe.. is not a worthy catron; nor is one who arbitrarily
m~rldles

wlth the execution of a work without knowing what he is doinq.

A bad ,

patron will not realize the necessity and importance of such ceremonies as the
"opening of the eyes" (i.e., the painting of the eyes, the final step in
completin9 a painted or sculpted image) when it comes time for th~ to be
performed: they will seem unnecess'lry frills to his jaundiced eye. Even the
completion of a rrolP.ct will not <Jladi!P.n him, but: he !ndul'Jes in a ['OVP-rtystric:ken mentality, acutely consciou!l of the expense invnlved. A patron must.
avoiri thP.se faults; instead, once he undcrta1c:~s to sponsor a project, he must
be cornRiitted without any regret, even though the project mily talc:e hb whole

59

lifetime and require all his wealth to complete.

On the other hand, a good patron of the arts 'by definition underst'lnds the

value of spiritual principles, and especially understands the importance 'IOd

function of whatever project he undertakes to Sfonsor.

He will 4lso appreciate

the necessity and benefits of whatever wealth is donated to spiritual works of

art.

He will have great faith and respect in the divinities, and will honour

and ad!llire the artist portraying theon. No amount of delay will disappoint his
strong intent, and he will be very
SUfplies for the worlc.

ljl8nerou.5

in furnishing the necessry

Being easy-9oing and soft-spoken, he will not begrudge

the artist's taltift9 pains with his work; and will not cheat the artist of hil'l
due, 'but will fulfil all his obligations as patron.

A good patron has all the

preceding qualities: moreover, it is said that he must exemplify the six

transcendent virtues of the 111ahayana in his conduct; from the Discourse
Reguested

by

Paljor Gyatso we read:

With the

to see the benefits (of his patronage) 1

With the mental stability of a focussed mind,

With the energy of enjoylnq his activities as a sponsor 1
With the patience of not reqrettinq hardships,
With the discipline of a soft-spoken, easy-going nature,
With the generosity of unstinting support,
And with faith and respect for the divinities and the artist,
He becomes increasinqly fulfilled (in his role of patron of the arts).
Moreover, the necessity of honouring the artist with remunerations qladly
given 1s shown in the Tantra of consecration (Rab.tu.gn&tl.pa 'i.rgyud 1 Kanjur
Tantra, vol. Ta, folio 146):
Outwardly, (the patron) honours artists
Vlth all kinds of adornments:
He should even honour others
Who keep their company.
And from the same work:
(The patron)

should offer the finest of goods -

Wages, horses, cattle, tlll90ftS 1 riches He should devote hilllself to offering

All kinds of wealth to the artist.

Scllleone who behaves in an

irr~proachable

manner with respect to these points

of ccnduc:t is a true patron who CC1111pletely fulfils the role of a rejuvenator

of the buddhist tradition.

An illusQEY heap which can take any font.

Is illusory wealth and p:-operty whidl can (nevertheless} accomplish anything:

Noble and ignoble practice of the illusory dharma
Is said to have been delineated by the son of uddhodana (the Buddha).

60

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66

CH,r..PTE:R THREE:

The Characteristics Determining

the Qu~lity of Images
This chapter consists of an eltl)lanation of the quality of representation
based on the degree of skill in proportioning images.
One major fault lies in deviating from the correct proportions wh@n drawing
the chin, the neck, or the calves of a figure.

This indicates that the artist

will be forced to leave his locality and will have a negative influence on whatever place he

live!~-

in.

Malproportioned ears, noses, or fingers in a drawn

figure constitute another major error; this points to impairment of one's

personal prosperity and charisma, and the thwarting of any attempt to achieve
accomplishments even on a mundane level.

Incorrectly proportioned calves,

mouths, or cheeks are serious flaws in art, leading to one being very unprosperous
and vulnerable to all kinds of hindering influences and obstacles.

It is like-

wise a fault to alter the correct proportions in drawinq the neCK, the chest,
and the sides of a figure, since these faults will cause one's alma to be
thwarted and may bring on all kinds of harmful and negative influences; and
to err in drawing the breasts, the nose, or the forehead, which will lead to
one having quarrelsome enemies. If the ears, the lips, or the eyes are out of
proportion, this too is a major flaw, leading to the tantric practitioner (i.e.,
the artist) being immediately vulnerable to the injuries of various kinds of
hindering forces.
It 1s wrong to draw a figure which seems to be gazing upwards, or gasping
for breath, or moving on its seat: these faults will result in the artist
having to leave his locality, and yet again from his new place, and his alms
will never be realized.
Silllilarly, should he malce many errors 1n propotioning the upper and lower
body, or in drawing the gestures or symbolic implements, the artist will always
be afflicted with pain, suffering, and unhappiness.
Likewise, if the bade support, seat, or canopy are incorrectly drawn too
small, the artist's friends, relatives, and acquaintances will not be affectionate
towards hiJn, but will squabble and fight: as well, his prosperity will be
impaired, his influence and charisma will diminish, and so forth -

all kinds

of misfortune will come about.

Moreover, in the case of divinities drawn without correct proportions due

to contusion as to what is acceptable or not, the awareness aspect of the
divinity cannot i.lllbue the drawing. In whichever locality such faulty images
exist, that region's prosperity declines, rainfall and water supply become
erratic, harvests are poor, and so forth. Because such images have only negative influence, one should remove them to rocky ar: snowy wastes and wllderness
areas. Many learned and accomplished 11asters are in accord on these points.
Furthermore, producing such faulty representations causes one to be reborn
an animal in future existences: even should one be born a human, one will
take birth in a low station, in poor families, without such necessities of life

67

as food and drinlc 1 clothing, wealth, crops, beddinq, ornaments, and so on.
S1m1larly 1 one will be born with one's body deformed in the same way (as the
iaages one had produced) 1 wherever the fault lay on the upper or lower part of
the fic;rurl! -

lame, blind, deaf, with malformed limbs, hunchbaelced, with

blotchy complexion, with imperfect organs and faculties, with extra finqers
and toes, with a dull complexion, and so forth.

One will be born as a defective

individual.
'If one depicts the baclcrest 1 seat; and canopy as too small, one will
be reborn in a hot country, or wt~ere there is much danger from the el-r.ts;

in an enviroment without protection from oppression by rulers, thr .. ,.f:-., fr0111

wild antmals, stinging and biting insects, and continual harrassme<...
vaqabonds and ..vll spirits.

These and many other sorts of' danqers are

descrfJMd in the traditional literature

Secondly, we shall examine the characteristics of a well-proportioned

J.m11.9e.

The hands and feet: are youthful and supple, marked with the design of

a wheel

(dh~~.r~~~acakra)

on the pslms and soles.

The fingers and toes are slightly

"webbed" with membranes of skin between them; the fingers should be long and
tapering.

lcnot.

The thumbs and large toes are martced with the design of the endless

'l'he veins and anklebones are not visible, and the U.mbs taper 811100thly.
On such an asexual form as the Buddha' a 1 the male genital organ is re-

tracted.

The belly is wide, the navel deeply indented and twisting cloelcwise,

and the waist well-defined and symmetrical.

'l'he upper body should be broad, with rounded shoulders.
tapered 11Jce a conchshell.
billlba fruit.

The throat is

The lips are cleanly defined, and red like a

'l'he nose should be long, with the tip pointed.

The eyes are

long 111ce the petals of a lotus, with the whites and pupils cl'!arly defined;
the eyebnJWS are to be thielc and long and distinct, not joining in the middle
of the forehead.

Between the eyebrows is the

to the right (to form a dot}.

un,~a,

a fine

'~~bite

hair coiling

The upper curve of the ears is high, the lobes

are long, and the orifice lobed and wide.

The forehead 1s to be very broad

with a well-defined hairline, while the head is to be large

~d

rounded.

The

hairs of the head are thick and clearly separated, including those of the
cranial protuberance

(u~J].ifa),

which resembles a pile of grain in shape.

Generally, the form is meant to be large and erect, with dignified

bearing and pleasing mien, the joints of the limbs well-placed, and the
Whole form balanced and well-proportioned.

The particularly masculine or

feminine features should be :learly defined, and the fit of the c:lothing
graceful.
In summary, of those major and minor marks of physical perfection which
are set forth in such texts as the Abhisamayallhkara, one must reproduce those
which are capable of being depicted, in the accepted traditional manner: the
result will be a figure

68

~'ieh

will appeal to anyone, which will interest any

viewer, and which is beautiful and aesthetic to behold.

The

of creating such forms are set forth in th~

pl~~arik~sutra (Kanjur Sutra, vol. Ja, section 32 1 folio 2l):
Some have, in this way, made such precious forms.
bP~cfits

Having the thirty-two major

mar~s

~hikaru~a-

of physical perfection;

Moreover, whoever has made (such images)

Will all achieve enlightenment .
And from the ~~ source:
Some using the seven precious metals,
Some likewise usinQ coppr and bronze,
Fashion images of the sugat~s:
Those (who do so) will all achieve

enli~htenment.

Fashioning images of the sugatas

In lead, iron, or earth,
Or using clay to mold these aesthetic forms,
They will all achieve enli?htenment.
~lhoever dra....s or commissions the drawin<J of
The completely perfect form of the ''victory banner of merit"
(i.o., the

Bud~ha)

As a fresco on a wall,
They will all achieve enlightenment.
Moreover, even though correctly proportioned receotacles of the form,
speech, or mind of the victorious ones (buddhas, be of very small size, to
fashion them oneself or to commission others to do so creates an enormous
amount of spiritual merit. As is stated in the 'Ph~gs.pa.rmed.du.byun.ba.
zhes.bya.ba'i.chos.kyi.rnam.qran& (~~jur 5Gtra 1 vol. Sa, folio 196):
0 Ananda\

Were any faithful son or daunhter of noble family

to fashion this

uni,~r&e,

this trichiliocosm, out of the seven

?E'ecious substances and offer it to the

streamwinn~rs

(srota-apanna),

to those ~ho will return one~ (to samsara before transcending the
cycle of rebirth; S~t. sak~dagamin), to those who will not return
(anagamin), to th~ arhants, to-the pr~tyekabuddhas, and to the
of fully--ordained monks in the four directions, I say that
it would be greater merit by far for them to fashion a stupa

san~ha

commemorating the parinirvl~a of the tathagata, the arhant, the

co~pletely enlightened buddha; even if this stQpa were only the
size of an olive, with a central pole

in~erted

being only the size

of a needle, a canopy only the size of a juniper n~edle, and

containing a statue only the size of a barley grain and relics
only the size of mustard seeds.
The inconceivable benefits accruing from fashioning correctly-proportioned
images--- excellent lifespan, merit, retinue, and wealth on the temporal level,
an~ actual enlight~nment on the ultimate level throuqh mastery of such states
of meditative absorption

~s

the

's~madhi

of ultimate

r~ality'

--- are described

69

1n the verses of Selqyal (Jt:anjur SGtra, wl. sa, folio 201):

However

~~any

atOIIIS are contained in the 1maqes and

The atopu of the tranacencSent

accc~~~pliahed

conquerara,

The artiaana who fuhion theae

Wlll certainly attain donllnlon over a 90Cfa' r:eal11 in the heavena
an equal

of tlmu1

Experbnc:lnq all the excellent lnela of 'COilS\maate

Meditative a))ao[option 1n the for. and forlll.eas

rea~,

They wlll finally attain the state of buddhahood, without

the 8Uffer1nqa
Of b!rt:h and death and ao on.

And trc. the Saaadhlrijulltra (Kanjur Sutra, wl. De, chapter 12, folio 98):
(Those

~o

fuhion) extr-ly beautiful 1lllagea of the Buddha

:In flnely-f1n1ahed prec:ioua aubatanc:ea,

Aesthetically pleasing and very eleqant, vill by (this activity)

Achieve this excellent auadhi before long.
L1lcew1ae, (whoever fuhiona) fine statues

:rn pure gold, pure silver, or sandalwood,

Beautiful and ery aesthetic:, will by (this activity)
Achieve this excellent -aclhi before long.
(Whoever) carTes, in clay or else ln atone or in wood,
linages wh1c:h are beautiful and aesthetic:, will by (this activity)
Achieve this excellent aamaclhi before long.
Since the sutru and tantru set forth these trad1t1one as being ao
infinitely WOL"thy and beneficial, rigorous adherence to the standards of
correct propot1on and detail 1s of lneatlmable benefit to the bud::!hiat tradition and to other beings.

70

One IIIUSt make every effort not to be neq11qentl

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CIIAM'ER IV

THE PROPORTIONS FOR

SYMBOLS OF FOBM -

IMAGES

Getlerally speaking, there existed in Tibet numeroue manuals of

artistic proportion composed according to n.rious traditionsa the
source of al these vaa the definitin import of the tutras. llut
since there are many points in the tantras which are unclear, there
exist minor differences (as well as many s1mila.ritiee) between the traditions known as the Indian, Nepalese, and Tibet&D styles. Although
aome later scholars have attacked particular schools on the basis of
these differences, Jamaon ('Jam.mgon Xon.sprul ~Lo.gros.mtba.yae,
18I3-I899) himself stated categorically that such criticism is nonsense
.ADd according to the venerable master of Jonang (Tiranitha, late 16thearly I7th c.), the arte, preparation of medicines, tantric rituals,
and the profound ultimate nature of phenomena - these are not subject
to mere intellectul speculation, ancl ahould not be approached with
pride and aelf-aggrandisement. so one Should consider all these
traditions to be authentic and compatible, without holclit1g one's own
school to be the only correct interpretation ancl the others to be in
error. Traditionally it is said that standardised proportions exiat
to avoid degeneration in the arts, and were set forth by accomplished
artistes they are not rigidly fixed, if there is aome confusion to be
clarified. And if one is depicting one's own face (i.e., not a
traditional theme), one can create according to one's own impreeaione,
without recourse to traditional standards." That is to ~, one who
is qualified is free to improvise and to introduce hie own innovation&
wherever the standards are incomplete a.r there is aomething not clearly
delineated by tradition. Sose elements of composition vbioh aoe not
subject to strict standardisation are euch background details as
clouds, trees, mountains, cliffs, lakes, names, vind, and so tortha
the shapes of these are depicted according to one' a own tradition.
Palaces and eo forth, 'hodhi trees,
Different kinde of nowe:rs, a.r:ragementa of offerings,
Designs of auspicious ~Vmbola, ornaments of jevelsa
These haTe their particular forms defined by tradition,
.A.nd are the specialty of the Indian t:vla.
Lustrous textures and beautiful patterns,
Auspicious ~ola worked on fabric,
Thrones and elegant detailaa

75

tileae are the specialty of the Chinese style.

Aquatic animals, lakes and ponds,
Mountains, forests, nip t:reasurea,
Metical nbatanoea, incense, and. fluttering baoneraa
These are the specialty of the Kashllliri style.
Motifa of the tour elemea.ta, rainbows, clouds,
'frees, omuaente of ,jewels,
:Birds, and god],y trea8U1'8aa
!rheae are the specialty flf the Hepaleae style.
Cliffs, billa, vild anill&la,
CBDDp:l.ea, friDsea, and other decoratiozaa,
All ncb Yariet;y ot forma, and rUBes of IIZIOW peakaa
!rh88e ue the specialty of the Tibetan style.
!rhus, each couot17' a able had ita ovn torte, vlli.ch it is :Lmportant
aot to confuse with styles tzoa other lecls.
As to the fi'l'e particular characterictica which diatinsuiah
the Qadri school of Tibetan paiDt:Lns, these are en\UIIorated 1D the
writiDce of l.aahO kana 'faahi. The particular characteristic of the
:fo:naa is described :LD this wll)'a "when riend hom a tistance, the;y
aeea to leap at one, ud when Yieved close up, the;y are aesthetical],y
pleaa:LDc. !he backpound composition :La diatiquiehed b::r "being
bold],y del:I.Deated, with the elements beautiht and lustrous, nll11aluoa4 ~ a apacioua ud pleaai.DB enYironment, The particular
colours faYOved are aott and clear, not garish; and lustrous and
brilliant, not dull," There are specific tezturea, termed nrious],y
scattered uatard seeds. "ku'-graas tips, sea-mist, "fakiniclouda, and eo on, tileae four characteristics highlight the at:;liat:l.c
ezoellen\:8 o:f 'the Qadri school. In additioJ:!,, this tradition of paiDting
derives from the ezalted origins of the Chinese princess Kongjo 1 the
incarnate artist Ji'BIIIka Taahi, the coditier whose efforts in spreading
the arts vera foreseen by the eigbth l.armapa. SO the G&dri school is
said to haYe these five special characteristics.
The K.enn. at:;le was deVeloped by ftenla Dendrupz an emanation
ot lldjuI (the bodhisattva of wisdom) vith the power to recollect
toner eziatencea, he developed magnificent styles which vera ae fa1110ue
ae the aun and aoon, and which until the communist invasion of Tibet
were preserved without 8DJ deBeneration or interruption in thetranamiaaion. In general, en authentic tranBIIIiseion of the ho~ dharma vas
aaintained 1D T.ibet, a stable and flouriahillg. tradition whose practi-

76

tioners werv solely concerned with spirittwl liberation. SO in all

facets of dhal'llla, from the pinnacle teachings of the 'Pi:dtnal path
dow to the leaet important of the worldl;v sciences, i f the al:lptest
Biens or degeneration o:r error crept in, qualified. ezperta would.
cusure and clisrourage trulllllisaion end preservation of fault)o
doctriDea. For this reason, the traclitions remained. nawlesa mel
unclallaged until receDt)7 .llovadqa, JO'Wig people innuncecl b7 110dem
ideas conaider Buddhia and traditional IG'&teaa of leaming to be mi ..
pided mel become lmpatiBDt vith nch traditional methode, painting ia
a mi::r:ture of Indian and 'l'ibetan styles. We aea this being belcl up as
aometh~g positin, moden techaique a but this 1e like a eon of illmatched parents, who C&DDOt be aaicl to "be of good family however h&Ddaome he is. It ia a great 'uatake to pollute theae traclitional 11118taa.
"J'U:r'theZ'IIOre, because the Tibetu styles of painting are so
famous nov, :a~ superficial imitatiYe st,.lea haTe BPJ"'tlDC up, Of theae,
a rev resemble the Kenri et,.le somewhat, though being inferior
imitations, like a clonke;r veering a tiger a akin, Th.,- haTe DO ooanection whatever vith the Gadri school. Thera are, aa well, at.Jlea
which developed after that of ChiSJing cyatao of TIIIID.g (foun4er of the
11ew r.enri style)& aa for thoae painting stJlea that lade eTen this
qualification, there :I.e DO poaaibilit,. of their being conaiclerecl
part of the Caclri tradition, just aa water must not adulterate melted
butter. EVen their inclusion in the Jl:enri acbool 1e a great misfortune,
like cliluting milk ri th water. These are 1111DBIDBd latta~~ echoole
which I call the alopw schools.
Jfot diatinpiahing ueculine from fellliDine forma,
Mi::r:in& DOD-compatible colours unh&rmonou~
Not identifiable aa Gaclri, Jlenri, or &111 other achoola
Such are the sloppy schools of tinge~paintiDg.
Diligent incliTiduala with a high clegree of diacernaent
vere the holders of authentic lineages; with =erring
judgement thq
Maintained the Menri etyle, the Xl!;venri at,.le, ancl that
Jmovn as Jiu (EJ'i'u),
The style of Chfjying Cyaho, called the xew Kenri.,

ADd the moat ezalted aeyle of all, that of Jlamlca Taahi

Since these comprise the authentic traclitiona of
painting,
Rather than ~~aains after dewdrop~ on the 61"&88
Quench your thirst in the vavee of their Taat lakes!

77

As to the actual proportions to be preeenteo., there are three

divisions; Q,Ymbols of form (dealt vith in this chaphr), B)'mbola of
speech (Chapter V), and symbols of mind (Chapter VI).
To besin vith, althoush nWIIerous erudite and acclompliahed Tibetan
commentators in the past have classified the subject metter of drawins
and paintins iD more or less detail, into fi~e, eight, or eleven
sections and 80 forth, I see no great contradiction between these
IQ'steas. llut in this attempt to set things forth clea:r}3, I have IQ'Uthesized the essential points, taking as rsq basis the text "!iusic to
Deligbt a Clear Intellect,
lirst we aball e2:amine the metod of determining a unit of
measure, ll.oweTezo large a image one wishes to draw, the distance
from the cranial protuberance ( u!JDP.!&) to the heels is divided iDto
ten equal parts; one such part is tel'med a 'large unit' (cha,chen.po).
face (sbal), apa11 1 (atbo), or hand' thal.mo). DiYiding this
large unit further into twelve equal parts gives a Ellllllll 1m1t
(cha,chun), also terme4 a 'minor UDit' (cha.phran) or an

iDcb 1 (80r,

mo), One-quarter of a 8111all unit is tened a baae unit (zium.pa,

li'terall.Y toot), and ono half of a baae unit ill called a
(us), 80 that eigbt grains equal one 8111&11 UDit.

'srain'

Seoondl,y, regarding the proportions of the illages to be

measured, 'llll own tradition speaks of eleven sectiono in treating
these subjects, which 1.oill be dealt with in the pages that follov.

78

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81

Section I : the Proportions of the Sugata (Buddha),

the subli~ Iir.anakiya

~ shown in diagram ~

, the distance between the cranial

protuberance and the point between the e,yebrova is one large unit. Then,
there ia one large unit between the following points: (the midbrow point,)
the throat, the centre of the cheat, the navel, and the genitala, Together
these constitute a total measure of five large units for the upper bodJ,
or sixty-tvo and one-half small unite (since the large unit used for
measuring the forme of budd.naa ie actually twelve and one-half aull units,
aa opposed to twelve for all other figure&J iroa the geaitals down, the
hip measures four 811811 units,the thigb two large aita, the knee four
small unite, the calf two lar~e units, and the foot tour and one-half
small unite in height: this Gives a total measure of five large unite (or
aizty-tvo and one-half small unite), so that the total of the upper and
lower body is one hundred and twenty-five emall unite.
~ to the width, measuring from the centre of the cheat to the
right (Note: within the context of artistic layout, the directions are
given from the viewpoint of the figure being drawa:therefore, right'

meams to the figure's right, actually to the left of the canvas troD the
artist's point of viev), the distance from the centre of the cheat to the
richt armpit is one large unit, the upper arm (extended horizontally) is
twent.J small unite, the elbow one small ~it, the lower arm sixteen small
units, the wrist one-half a a~ll unit, and the hand o~e larg~ unit:
together these make a total of five large units, Similarly, the left aide
of the body measures fiTe large unite, for a total body witth of one
hundred and twenty-five small uni ta, 'fbia 8,711111etl')' correaponda to the
concept of equal height a~ width as set forth in the Kilacaltra Tantra.
Aa for the method of laying out the li~es fur these proportions on a
pnpared canvas, ooe becins by drawing the vertical line don the centre
of the canvas, termed the 'line of purity or 'line of Brahms (taba~a.thic)
then one bisects thio line in the centre of the canvas. With a pair of
compasses, area are inscribed above and below the oentral line& then, with
compasses eztended, one usee the intersections of the ppar and lover aroa
with the central vertical line as centres to inscribe intersecting area to
.. -the right and left aides of the centre, these marks resemli!lg xa or
birdtracka, Further, these intersecting area are used to mark the right
and left aides of the upper limit of the actual surface to be painted,
howeer l_arge one wishes this to be .1.11 this to mark out the surface area
and the basic linea.
Rezt, a hori~ntal line is drawn on the central Yertical line to mark
the uppermost tip of the cranial protuberance or U!J~i~. Delow this line

85

are drawn, in order: 'tbe line mazking tbe baso of the small upper part of
'tbe

u~aa,

at tvo small units below tbe top2oa't line; tbe base of 'tbe

at four -11 unite; the hairline, at four and one-halt aaall units;
'tbe cbin, d tvelYe and one-b.al.f aull uni 'ta; 'tbe tbroa't, at tour amall

u~ipa,

units; 'tbe centre of the cheat, at tvelYe and one-b.al.f aull waite; the
naYel, at tvelYe and one-half small unite; tbe waist, at four and one-hAlf
small unite; the genitals, at eight amall units; tbe bipa, at tour amall
units; tb.e thigba, at tvent;J-five amall units; the knees, at tour amall 1
units; the ~lYea, at tvent;y-fiYe aaall units; and 'tbe aolea of the teet,at
tour and one-half aaall units. !hese are the ai%teen basic horizontal linea
( Pbred. this).
Above, one draws the follovins linea aucceaaivel;r, parallel to the
central vertical line OD 'the right aide of the bo~ (i.e., to the left 0~
'the central Yertical line troa the artist a point of view) 1 tbe Yertie!'l
line IIUking the cheek, at aix small uDita; the &rlllpit, at ai:z: and one-half
aaall unite; the upper ara, at bea'tf ...11 unite; the elbow , at one aaall
un1 t; the lover era, at si:z:teen 811811 uDi ta: 'the wrist, at oae-halt of a

amall unit; the pala, at aeYen saall Ubita; end the fingers, at five small
unite. This makes eight vertical lines (gyen.tbia) on the right aide of the
not countins the central line. On the left aide, there are four
vertical liaea: markiG the cheek, at ai:z: small unite; the armpit, at six
and one-half aaall units; the shoulder, at four small units; and the outer
bo~,

edge of the upper ana, at two 811811 units. Although the Buddha' a eras are
nner drava thua e:ztendet, this 110del is to permit one to understand ill
detail 'the correct proporUozus inYolnd in dra1fin& the upper and lover
ud claarl.7 abova 1D the diagraa,

84

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85

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88

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Diagram

upper part of the

shows the proportion& of the :Buddha's bead. The

u~~i~a,

teraed.tbe 'jewel-tip' (nor.tor), is two a..ll

units in beirht, narrow at the tip and wide at the baas like a jewel. :Below
this, the main part of the

U~1,li!&

ia four sull units hich and four wide,

shaped like an inverted al11a-bowl or a pile :f srain. The hair of the bead
is four and one-half small units fro crown to hairline, and shaped lilte
an inverted pan, The forehAad is nine small unite wide; from the centre of
the hairline i t curves gradual}J to both aides like a bow. At a poiut four
aaall units below the hairline, in the centre of the forehead, ia the urv
or mid-brow point (ad sod, spu), for..d by thir't1-two fine white hairs
coiled to the right, and dravn ae a round dot with a tiaaeter of one stDall
unit. 'l'he e)'ebrovs berin three basic unite (or three-quarters of a aaall
unit) to the rig~t and left. of the ~ th87 are four small unite lonr,
one boaic unit thick in their centres, and curt"ed in ahape like crescent
IIOODSo

One small UDi t below the ~a are tbs lover linea of the .,-ea: the
.,-ea tbemsel1'ea, drawn in what is ter.ed the pH of the fovtb leel of
d~ana

(meditative atabilit,), are one small unit to either side of the

central vertical line. The e,yea are tour small unite lonr and one b'sic
unit vide, shaped like bova. The upper linea are tapered thilmer, the
lovar linea thicker, and CUZ'Ted upwards. 1'he ilmer and outer comers of the
e)'ea are red for one-half of a aaall unit a Yidtb, the central white of the
e,reball beiDr three small unite vide. In the centre is the iris (terod
kalita), round and one small ua:S.t in diameter, and in the centre of that
is the pupil (autali'), round with a diaDeter of one-fifth of a aaall
unit J BlUTOunding the pupils is a band one-fifth of a Bll&ll unit ride,
called the ri' (JDU.kb;yud). '!'hie band is traditional~ yellow for peaceful
divinities, and red and blue for wrathful ones. ~be pupil is black, the
e,yeball veined with reda the S)'es are clearly

de~ailed,

vide, and lovel)',

vi th the outer comers pointinr towards the orifices of the ears.

From the md-brow point to the tip of the nose is a distance of fov
aacll units, and the tip of the noaa is two small unite vide; of this
width, the bridge of the nose between the two nostrils is one-half of a
small unit ride, the nostrils are each one-half of a small unit ride, and
the flesb;y outer rima are each one-half of a sull unit ill thickness.
Althouch some artists draw the nostrils and bridre of the noae one small
unit each in width, this is som-hat lackinr in beau't1.
rroa the base of the noee to the upper lip is a distance of one
alll&ll unit: the area above the upper lip baa the shape of a lotus petal.

89

'l'he upper lip 1a one-half ot a eaa11 unit thick, while the middle of the

lover lip is a full small uait iD thiCkness; the distance ~etveen the
timplea ia four 8111&11 UDita, and the lips are curved upwards for one small
UJl1 t at the oomera, iD a pntle eaile. some tradi tiona exist of draviDg

'the upper aad lower lipa of equal thi Ckneaa, ud the dir:tplea of the aaile

GV't'iDg up onq e1z sraiDa (three-quarters of a aull unit).

Beneath the lower lip, at a distance of two ..all units, is the phin,
four aaall Wli ta vide aacl rounded.
The earlobea are two aaall uaita wide froa.the outer edge of the face,
ancl four or four and one-halt aaall units at the middle (videat.) part&
the lobea reach to 3ust below the leYel of the chin. Beside the 3av, in
lnnt of the orifices of the eara, are lobes of flesh shaped like flower
peta1a, one-half a aaall UDit wide and high. The orifices themaelne are
alao one-halt a aull Wlit long ud ride. The folds, tercl 'komo
(ko.mo, or *o 80) are one aaall unit ride and high, encircled by the
two-grain ride folcla terMcl the 'llhaku (Nkku). outside these are the

folda termed kani (ka.Di) which are two sll units lengthwise and
one across. Outside these are the rima of the upper ears, called 'CUI'Yee

('k~il.ba), one-half a small UDit in width, arching over the top of the
upper ears to curYe in to join the head, ancl circlin& down to meet the
earlobes; these are also ter~4 beka patterns (bo.ka.ria).

90

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91

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93

In diaaram

ticure i

shows the variant style tel'llled the

radiant sage (thub.pa. od. zer.ma: see Chapter One}. From the brow point
to the tip of the nose, the layout is ao just described. The u~i~ is
longer and tilts slightly to the rear; the nose is pointed; the lover lip
is ver, tull, the right and lett brovs 1118et in the centre; and the 1'orebead
is high. This style,

~hich

baa no indentation between the brows, vas v,ide-

apread in central and eastern India: in Tibet, durinG the reign of

Songtsen Campo, those styles known aa sheep-faced (lug.gdon.u} vere
.odeled on this style. Siilarly, in later times when Renla DOndrup and
his students introduced their Dev mode of painting elaborating upon
&epaleee deaiga.a, this style was incorporated: so it is not without
au thell ti city.
Fisure

ahova a Chinese style oriinally baeed on the design of

the saodalvood Lord (tsand&D.jo.boa see Chapter One): the

u~i~

is

thidl:: the nose roun4ecl; tbe earlobes ve:r,r long and vide; the eyes narrow
and lone: the cheeks plump; and tbe l&l'Jn::r full and vide. this early style,
however, gave rise to m&D1 variations in later times, and would appear
to be incOrporated into numerous different te::rta.
Figure

3 ahova the i'ibetan style.

9 : : - . - 4_ _ _ _

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95

Diagram
The

~hroat

shows the proportions of the upper ed lower bod;?'.

is four small units high ed eight wide, full below aDd with

three v:rinklesz the first or these lines is three base unite below the
bo~tom

of the chin, the second line one small unit and one base unit below

that, and the ~bird line two small units below that. These linea are thi~
er in the middle and taper towards the ends, and are carved upwards.
From the base of the neck the distance is one large unit to the
shoulder, which is full-flesned, the line curving gent}3 downwards like
flowing water. The mound of the upper arm is four small units vide and
prolllinently rounded: the upper arm is straight, twenty small units long;
the elbow joint is one small unit; and the foreara is sixteen small units,
tapering slightly.
From the throat to the heart-level (at the centre of the cheat) is
one large unit, and from the heart to the armpit is again one large unit,
while the distance from armpit to shoulder is nine scall units. Three
small units up from the horizontal line marking the centre of the cheat,.
and six small units plus one base unit to either aide of the central
vertical line, are the nipples, drawn ae dots surrounded b.f small circles
of

on~eight

of a small unit (i.e., one grain) in radius, surrounded by

further circles of :radius five grains so that there is one-half a small

unit between the two circles: from the nipples to the top of the armpit
is six small units, and to the side of the chest is five small unite.
Fro!!! the centre of the chest to the navel is one
above the navel on either aide is tbe narrowing of the
small units across. The navel itself is one small unit
level eight small units below the navel is tbe pelvis,

la:rse unit. JUst

waist, fifteen
in diameter. On a
nineteen small

1mits across. Four and on~balf small unite below this is the genital area:
because the male organ is :retracted on such asexual forms, the proportions
for this part of the body only need be explained below, in the section
on tantric divinities.
The thighs are two large units in length ;one la:r,e unit thiCk at
the groin: ten small units in the middle; and seven at the thinnest
point just above the knee, which is four small units long and eight small
\mits wide. The length of the calves is twenty-five small units, and they
are seven small units vide at the thiCkest point and five at the thinnest.
The feet are four and one-half nall units in height (from ankle
to sole): the soles are twelve small units long. The large toe is two
small units lon" The foot is six small units broad at the base of the
toes, five small units in the middle, and four small units at the heel.

97

98

99

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Diagra::a

shove the proportions of the hand. The hand 1a

twelve and one-half sDBll units t.roa the vrist joint to the tip of the
middle fineer, and seven saall units from the vrist to the base of the
middle finoer. It is seYen saall units across troa the base of the thumb
to the base of the little finger, and five Stl&ll units across the base of
the four fingers. The middle finger is five and one-balf small unite long;
the forefinger and ring finger are both on~balf a saall unit shorter than
the middle finser; and the little finger is one small unit aborter than
the rinc finger. The fingers are of equal thickneas and divided into three
seaments of equal lencth. 'l'he nails cover the outeraost half of the last
segtlent. From tbe base of the forefinger to tbat of the thuab is three
small units. and from the vriat to the middle of the mound at the base of
the thumb is four small uni tea this mound is four small units across. The
thumb itself is four small units long, and from the base of the thumb to
the wrist is a distance of five aaall units. The bases of the finprs
are said to be webbed betveem like a eva a foot.

Diagr&lll

aleo sbovs the proportions of the foot, in addition

to the aeasurements given above. The large toe and Heond toe are of
equal lencth, the Jlliddle toe is one grain aborter than the second, the
fourth toe shorter by one-eighth of the length of the middle, and the
small toe aborter by one-eighth of the fourth. All the toea have two
joints, and nails on the outer half of the last segment, and are webbed
between the base segaenta. At the base of the large toe, the foot is one
nal.l unit t.tliaq at the base of the little toe, three baH units; and in
the middle, rour ud one-half base unita.

.lll the major and minor ~:~&lies of perfection e-vident on the fol'll of
the Euddha are described in the Abbiaama.yilankira and other works: lllaiite
such as the dharmacakra-vheel design on the pales of the bands and tbe
of the feet. It is important to include all those vhich are capable
1 ot depiction: what has been given here ia merely the general proportions.
~lea

105

!he linee for drawing the le.,vout tor a seated buddha are the same
as described above trom the senitala upwards. The croas-leesed posture baa
a height of two sections of foar 8111all units each (i.e., two horizontal
linea are dran, one four 11111&11 units below the line ma:riting the level of
the pnitalr; and one a further tour amall wits below this); the moon-disc
seat, of four small units; and the lotue-aeat, of one large unit.
~he intersection of the horizontal line marking
the upper throat
the central vertical line ia connected with the ~ntersections of the lover
of the two horizontal lines marking the crossed legs and the outercost
vertical linea. The intersection of this lover line and the central
vezotical line is connected with the io1tersections of the horizontal line
..r.king the upper throat and the outermost or fourth vertical lines. This
meaaurea out the breasts, sides, hips, waist, and ao on. The interaections
of the upper and lover horizontal linea marking the crosslegged posture
and the outermost fourth vertical lines on both sides are connected to
fora a "z"a this outlines th crosaleB&ed posture. :rhe intersection of
the llorisontal line muking the navel and the central vertical line is
oonneotecl vi th the intersections of the upper line marking the posture
and the outeraoat fourth vertical linea on both aides: this ~bows the outer
eclp of the thigh muscles. The moon-elise seat is drawn four small units
below the lover line marking the crosslegged postuzoe,.and the base of the
lOtu..seat one large unit below that.
'fhis lqout, depicted in diagram

, is the standard for the

:forma of bucldhaa in general. There are two alternative methods, vhare the
width of the orosslegged posture is equal to the measure between the base
line and the midbrov point, or between this base line and the tip of the
DO!I81 previous~, in India, the "radiant sage" style used the latter
measure, while the reflected saae" style used the former. These peculiarities are explained as follows: iD the case of the "radiant sage at,yle,
the uneven form resulted trom the distortion caused by the artist Sketching
in the Duddha 1 a form as his radiance reflected it on the drawing surface;
in the caae:of the reflected sace" style, the particular effect is due to
the foreshortening caused b7 the reflection of the Teacher's form in the
water.
so- artists hold that since budclhas' forma are one hu.'ldred and
twenty-five small units in lencth, while th.,se of bodhiaattvas are one
hundred and twenty, the measure of the width of the crosslegeed posture
tor buddhaa forma is to the tip of the :sose, while for bodhisattvas
forma it is to the midbrov point. This opinion, hovover, 1o an or1or.
,106

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111

.Uao included in this first section are tbe l~outa for the forms of
tbe realized surus. These are canonically defined as measured according to
the proportions of bllddbas tons (dealt with above) with dlstinctive
postures.
Diqraa

ehows the le;vout for drawing the mahisiddhi 'l'ilopa.

J'irst tlle central vertiaal line 1a drawn. 'l'o the right of this are drawn
three vertical linesa that marking the centre of the chest. at eight
small unitsr the armpit at a further eight small units: and tho outer edge
of the upper arm at aiZ small unit~ more. To the left are drawn three
vertical lines: aazking the right knee and forehead. at eight small units;
the hollow in the left calf at twelve small units; and the outer edge of
the left knee at six IIJD&l.l unite. As for the horizontal linea. the uppel'aoat is that marking the top of the hair, followed by the forehead. at
eight saall units below that; the throat at twelve small w1its; the centre
of the ohest 1 at twelve small units; the waist, at eight small units; the
navel, at aiz scall units; the lett kneecap. at four saall units; the
bottom edge of the left knee 1 at six small units; and the edge or the
right knee. at eight small unitsa a total of nine horizontal lines.
Then the intersection of tbe first left vertical line and the
horizontal line marking the forehead is connected vith the intersection
of the first right vertical line and the horizontal line marking the
level of the left knee and the central nrtical line: this shows the angle
ot the upper and lover torso . The lover point of this line at the level
of the centre ot the cheat is connected with the intersection of the outermoat right vertical line and the horizontal line marking the waist. to shov
the crook or tbe right arm. The intersection of the central line and the
horisontal line marking the throat is connected with the intersection of the
aeoond lett vertical line &Dd the horizontal line marking the navel, to
give the outer edge ot the extended left arm. The intersection of the
horisontal line marking the waist and the central vertical line is connected vitb the intersection of the outermost left vertical line and the
hori110nta1 lim marking the lett kneecap. which point is in turn connected
with the intersection of the second left vertical line and the horizontal
line marking the edge of tbe right knee. which is i~ turn connected with
the intersection of the second right vertical line and the horizontal
line markinl the bottom edie of the left knee: this gives the outer edges
or the right and left thi&hs and the crossed shins.

12

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These are the proportions for drawing the Indian 'll&liisiddhi.s: while
a total bod;r length of one hundred and twenty-five small units is necessary,
it is impossible to typit,y this vithin one single example, because there
are aaDJ different postures and forms.

Aleo included in this first section is the l87out for drawing the
form of the venerable Milarepa, shown in diagram

Firat the

central vertical line is dravn, then the horizontal line marking the top
of the skull: 'belov this, at four small units. the line marking the
forehead; at twelve and one-half small units, the face (i.e., the chin);
at four small units, the throat; at twelve and one-half small units, the
centre of the chest; at twelve and one-half small units 1 the navel; at
ten aall UDita, the left kneecap; at eight small units, the bottom edge
of the left knee; and at tan amall un1 ts, the tips of the fingers of the
lett baRd. To the ritbt of the central vertical line, the first vertical
line ia drawn at twelve amall units, the second at six, the third at
aiz, and the fourth at eight, to the left of the central vertical line,
the first vertical line is drawn at ei6ht small units, the second at
twelve, and the third at eitht.
The interaection of the horizontal line marking the forehead
and t~e central vertical line is connected with the point six small
units to the right of the central vertical line along the horizontal
line marking the level of the centre of the cheat, which is in turn
CODDected 'With the intersection of the horizontal line marking the
bottoa edge of the lett knee and the central vertical linea this shows
the angle of the upper and lower torso. The intersection of the
. horizontal line ll&rkil16 the bottom edge of the left knee a:td the central
vertical line is connected with the intersections of the third right
vertical line and the first left vertical line a11d the horizontal line
marking the throat; thia aarka the ri6ht and left sides of the torso.
The intersection ot the horizontal line marking the navel and the
central vertical line is connected vith the interaection of the third
left vertical li11e and the horizontal line marking the left kneecap,
to give the upper edge of the left thigh. The intersection of the
aecond right vertical line and the horizontal line marking the navel is
connected with the intersection of the central vertical line and the
borizo11tal line muiting the fingertips, to give the line along the

122

shin of the right leg. The inter.. ctioa of the first left vertical line
aad the horizontal line marking the tln'oat :la connected with the point

tour 11 units above the horisontal line MJ'king the navel along the
.. oon4 left vertical line: this abowa the outer edge of the left upper
ar-.
'rbe facial ~~eaaureaenta are as for the l!udclba' a form. !here are
various va;ya of portra;ying !Ularepa. aa eciated or aa IDU&cular. one
alae finds forma cuning to the right aa well aa to the lett.

CD

123

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Section II : The ~r~r!ions of the Sambhogak8ya__forms:

!_h_e Buddhas of the Five__Fam.!_l_ies
Diagram

shows the proportions for the se.mbhogakiiya forms

such as the buddhas of the five tamili~s. Although the total body
measure is one hu~dred and twenty-five s~ll units as in the case of
the sublime nirma~ak~a model, there are several variables, such as
the toPknot extended by ten small units, the curvature of the torso,
the face and bands, and so forth.
The layout for drawing the Bhagavin Vairocana (the central figure
of the buddha faoily) digresses somewhat from the layout described
above. First the central vertical line is drawn, then the following
horizontal lines in descending order: the topmost line marKi~g the tip
of'the 'jewel-tip'; below this, at ei6ht small units, the base of the
,
topknot; at four small units, .;the base of the u~i~a; at four and onehalf sm~ll units, the crown of the skull; &t twelve and one-half units,
the chin; at four and one-half small units, the throAt; at twelve and
one-half sgall units, the centre of th~ cheat; at twelve and one-half
small units, the navel; at tour and one-half small units, the waist:
at eight small units, the genitals; at four small units, the middle of
the knees: at four small units, the bottoo ed~e of the knees; at four
small units, the moon-disc seat; and at twelv& and one-half s:r.all unite,
the base of the lotus-seat. As for the vertical lines, to the right of
the central vertical line, the line markin~ the cheek is drawn at six
small units; the armpit , at six aoall units; the shoulder, nt four
small units; the outer edge of the upper arm, at ~ro small units; and
the outer edge of the knee, at eight small units: the same order holds
for the left side.
Next, the intersection of the central vertical line and the
horizontal line marking the chin is connected with the intersections
of the horizontal line marking the bottom edge of the knees and the
fourth right and left vertical lines; then the intersection of the
horizontal line marking the bottom edge of t~e knees and the central
vertical line is connected with the intersections of the horizontal
line IIIElZ'king the chin and the fourth right and left vertic&l lines:
this gives the impression of superimposed arrowheads
, 'which
shows the widths for the breasts, sides, waist, hips, and _so forth.
The intersection of the horizontal line marking the navel
the
central vertical line is connected with the intersections of the
horizontal line marking the genitals and the outermost right and left
vertical lines, to show the outer edges of the .thighs in crosslegged

and

140

posture. The intersections of the upper and lover horizontal linea

marking the crosslegged posture and the outermost right and left vertical
lines are all connected to form an "x": this outlines the position of the
legs in the posture.
The layout of the face is as given previously. There exist minor
alternative variations, such as drawing the toPknot eight small units
and the jewel-tip' three small units in height, or drawing the toPknot
ten small units and the jewel-tip' two small units in height, and so
on; these do not seem to be in great contradiction to one another.

141

11.1
2
4

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142

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144

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Still in Section 11, diagram

ahova the layout for f'isures 7

such as Vajraaattva with a curved posture. the basic layout is aa for

Vairocana (above, diagram
) , but the &D1& of the upper torso ia
found by connectina a point tour amall unite or ao to the rieht of the
central vertical line alor.~r the horisontal line markin& the centre of the
cheat with the intersection of tbe horizontal line ~ing the forehead
Uld tbe central vertical line; Uld the Ulgle of t)l.e lover torso, by connecting the former point vith the intersection of the horizontal line
aa11tint{ the waist nnd tbe central vertical line. The intersection of the
horizontal line 111nrkinc the forehead and the central vertical line is
connected vith thc.o intersections of the horizontal line marking the
bottom edge of the knees and the outeraost (fourth) richt vertical line
and the inneraoet of the left vertical lines. Then tvo linea are drawn
from the intersection of the horizontal line marking the bottom edge of
the knees md the central vertical line: the one coanectin to the inte~
section of the horizontal line aazki~g the throat and the second right
vertical line; and the otl1er connecting to the intersection of tllc
horizontal line marking the throat and the iDD.er110at of the tour left
vertical lines.
Al tbouth the topcnot is intended to Ma8Ul"e ten all&ll 'IIIli ta in
height, modern experts state that it can le either ten or twelve units

tall.
The upper part of the raised right arm is on~ eb.teen small uai ta
lon (instead of the usual twenty), due to the foreshortening effect
which distorts the actual length: this applies in all other similar
cnaea.

145

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Diagram

shows uother

~out ~or

Section II, that

~or

the

figures of Ak~ol:.hya and the other buddhas of the fiYe families when
depicted in union with their feminine consorts -- subjects vith
numerous faces a.nd arms.
The basic outline is as for Vajrasattva (above, diagram
),
adding the proportion& for the aros o~ the masculine and feminine
devinitiea. Prom a point six sgall units to the right of the central
Tertieal line and eisht slil&ll units above the horizontal line .arkins
the centre of the chest, an arc is inscribed of radius tvent.r small
units (to the right); this marks out the right elbow of the masculine
divinit,ya arms. An arc vith a radius of a further si%teen amall units
aarks the wrists, and one vith 8 radius of a turther six small units
marks the hands. On the left aide, from a point ten small units to the
left of the central Tertical line and about four smell units above the
horizontal line markine the centre of the chest, three area are inscribed in the eame manner as described aboTe to show the proportions
of the left nr111s of the masculine divinity .i'roa a point twelve small
.units to the right of the central vertical line and sir small units
or so above the horizontal line Darking the centre of the cheat, an
are of radius si%teen a~~ll units is inscribed to mark the elbows of
the fewinine divinity s left arms; another arc of radius of a further
fourteen :JIIIall units arks the wrists: and another arc of radius of a
further four small units, the hands. On the left aide, from a point
six small unito to the left of the central vertical line and about
four small units above the horizontal line ma:rkint; the centre of the
cheat, three aiailcr.arcs arc inscribed to show the proportions for
the feminine divinit,ys right arms.
aces to the right and left of the centralface are each to be
six small units vide.
This is the layout. for figures in which both llllleculine and
feminine divinities have three faces and air arms. As many additional
faces or arms as are necessary cen be included in this basic pattern,
from which one can discern the apace allotcent required.

14

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Section III 1 The Proportions for the vratbtul !acetic

iodel ( dran. eron.khros, pa)
The

l~out

for this form, exemplified by CakraeamYara (bDe.mchog), ie

ellovn in diagram

Firat the central vertical line ia drawn,

then the followine horizontal linea in aecending ordera the bottom line
marking the base of the eeat; above this, at twelve aaall unite, the uppez
edgu of the lotue-eeat; at four amall unite, the eun-diec aeat1 at
fuur umall unite, the level of the supine female and prone .. le figures
UJIOI\ vhi ch the divini tJ at and at at four and one-half aaall unite, thfl
boi1:l.t or the toot 1 at twenty emall unite, the calves; at tour ...11
unitu, the knees J at twelve small uni ta, the thithe J at four DIIDll unite,
the eenttals; at twelve small unite, the navel1 at tour small unite, the
narrowing of the vaiat; at twelve emall unite, the lover cheat; at twelve
small units, the upper cheat; at four amall unite, the throat; at twelve
and one-half a~ll unite, thv facea at four and one-half small unite, the
crown of the skull; at eight emall unite, the topknot; and at four small
units, the jewel-tip of the topknot. To the right of the central
verticel line, a vertical line ie drawu at six small un1ta to mark the
armpit; at six small unite, for the outer edge of the upper arm; at
tvelYe small unite, for the knee of the extended let; at twelve aaall
units, for the heel of the feminine divinit,ye left foot; at twelve
small units, for th~ tipa of the tooa; and at twelve small units, for
the forehead of the eupin~ female figure (dus,atshan, under the herukaa
right foot). To the left of the central vertical line, a vertical line
ia drawn at one large unit to mark tho hip and heel of the indrawn left
le~a at six small uni' tor the arhpit and the forehead ot the prone
ale figure ( 1 jig.b7ed, under the herUka'e left toot); and at eix emall
unite, for the outer edge of tbe upper arm, the lett knee, and the tipa
ot the toea or the left loot.
Hoxt, from the interaection of the central vertical line and
the horizontal line marking the forehead, a line is drawn to a point
six small units to the left ot the central vertical line at the level
of the centre of the cheat, and this latter point ia connected with the
intersection of the central vertical line and the horizontal line
markint: the geni tala: tloia ahowa the angle or the upper and lover torao.
The int.orooction of the fir:~t right Yertical line anl tioo horizontal
line markinG the waist ie connected with the inters<-ction of th& fifth
ri~ht vertical line anc the horisontal line garkine the top or the
155

foot, to outline the outer edge of t~e extended right leg, the intersection of the central Tertical line and the horisontal line marking the
genitals is connected with the point four small units in from this fifth
right Tertical line on the level of the top of the foot, to outline the
inner edge, Further, the interaection of the central Tartical line and
the horisontRl line aarking the genitals is oonnected with the intersection of the second left Tertical line and the horisontal line aarking
the bottom edge of the knees, to mark the inner edge of the left thigh;
the intersection of the first left Tertical line and the borisontal line
nrking tho n3Tel is connected with the intersection of the third left
Ynrtlral lin,. and the hori zontd line aarking tbe upper aida of th11
knees, to mark the outer ed&e of the left thigb, ~he intersection of tho
third left Yertical line and the borieontal line marking the underside
of the knee is connected with the point two small units in fro the
second left vertical line at the leYel of the top of the foot, to mark
the outer edge of the left calf.
Nezt, linea are drawn parallel to the line u.rking the an}e of
the upper bod7, aiz small units to either aide, to ll&ril: the width of the
central face; linea a further two small units out on either side mark
the ears; a turther siz small unite out to either aide aarka the flanking
faces; and a further two small unite to the left aide marks the rear
facea this layout is for a four-beaded fora. For foras with a&nJ faces,
the pairs of faces flanking the central one are pro~ve}J six, four,
two, and one small unit wide, the innermost being the widest. Anotber
Hthod is to mark the first pair of fla:akiDg faces at four small unita'
width to either aide of the central face, and ~ further faces, such
as the rear-facing one, at two aaall units width each to either aide.
PDr fora with another face above the central one, thia upper face is
said to be smaller by one-third than the ll&1n faoea this progressive
diminution applies to all of however aaQJ faces~ be positioned, one
above the other, The shape and l.,out of the faoea ia aa given in the
diagrams.
If one allows the reoo~nded distance of three large units plus
fiTs saall unite between the feet ot thia figure, this will not allow
the necessary large unit for the lena'th of the thisha, and they will be
too short witb respect to the correet propo~tiona, QenerallJ speaking,
for legs eztonded out oblique1J, &Q1 shortening ia iD the Yertical
distance, not in tbe actual length of the lee ..aaured obliquely. Therefore, the etbod closest to the standard proportions is to allow four
large unite between the feet, with linea drawn to auk the thigha of

156

aizteen and one-half aull 11D1ta lacth ud oel'Yea of tvent,y aull

unite lenc\h
The ai .. of the parte of the upper and lower bo4J of this figure,
the handa and the feet, and eo forth, 4o not differ from those proaented
in the section abo'Ye on the Bu44hae fora. The erect aale organ ia four
eaall unite iD leocth, the slana penh two small unite, and the ecrotWI
banging below ie fi'Ya ...11 amite lone &lld four wide.
'l'he lenc\ha of the aale and feaale figurea under the feet are aaid
to be the MM, i.e. three of the ll8ill figure' large un1 ta.
The followiDc poiDte on the cli&P"&a depict different atape in
the lt11outa
t. a width of aix .-all aDita.
2. width of dz ...u UDU ..
' width of two ...11 uu ..
4. fna a poiDt aiz .-11 uih to the right of the oentral
..rtical U.ae and four ...u aaita abO'Ye the borhontal liDe II&J'kiDC the
centre of the cheat, an aro ie inacribed of radiue twenty oull unite to
aark the elbow o( the richt araaa another arc of radius of a further
sixteen awall
to .ark the wriataa and aaother arc of rodiua of a
further aix e.. ll UDita to aark the eels of the honda holding the
~d)olic iapleMnh.
5. tbia pnoe.. h rap..,ed on the left side to lq out
clearly the aeaaurea of the left araea the point used tor inecribin~ the
area is one and one-half larce 11D1ta to the left of the cantral vertical
line and aiz small UDita above the horisontal line aarking tho centre
of the cheat
6. the aeaenra for the ..eouliDe 41vinit.Y'a elbows,
7. wriate, and
a. clenched banda.
9. ud 1u. tvo larse-uait aeaiiiU'e for the lower botlJ,
shortened 'Yert.icall)o due t.o the aaad.-orouching posture.
11. the feet traapline the aupine and prone figures,
..oauring eicht amall unite.
12. the aun-diao Mat, vine fov ... u 'llllih
acrose (due to the fureehortenine effect).
13. the ata..aa, ..aeurinc four aaall unite hish.
14. the lotue-Mat, ..aaurinc eisht aull unite in heieht
.Another .. tbod ill to add two ...u uni ta troa the height of tt.e
atamcna to that of the lotua 1 aa ahown at 15. However 1 there really
are no fixed di .. maiona for the seat, and everyone baa their ovn

unt

157

particular method. Por for with four fieur 1J1ns on top of one
another on the Mat, or tbne discs - 1110on, sun, ud the planet Rihu poaltloned one abo the other, one eaall unit ia allowed for ench
element. It is alao permiaalble to alter alichtlJ the dimenelono ao
actual~ liYaD, nola aa Arkins the lotua tweln amall unlh high
and ao forth.
Uld.Ds th1a a del, there ie DO dif'ference in theee propor-

tion& for fisvee nch ae Henjra, lllacaltra, or Jah&.i, other than

reereiDs the l~ot to~ t~e atance or the curve of the toreo. Por
seated flguree ncb Oub.Yaeamija, the le,yout baa been rhen in the
section aboye oonaened with AltfObhya. The llien - 1d'athful 1 allliliug,
etc. - for each face 1111et be draw iDdlYiduall,r.

158

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niacralll

a pneral outliDe tor the shape or the faces

of Cakrasn~vnra. Tho centTal fa!e ia aaid to be round, and of wrnthful

ezpresniona the right face (i.e. the divinity's ricbt) ia shaped like
a chicken's egg, with seductive aien; the rear face (depicted aa the
leftmost) is shaped like a 883&m& aeed, with a coquettiah expreoaiona
and the left face ia squarish, with a courageous expression. It is
further stated tbet the central face is rounded according to the pro-portions of the sublime nirm&nak~a (Buddha) 110del of Section 1 1 or
alternative}J thnt one small unit ahould be cropped from the lover
part of the face of the buddha 110del to give that of the herukaa it is
thie latter method which hAs been adopted here:
1. a mea.:nare of one small unit and three baee units is
cropped bore.
2. this apace is one small unit and one base unit vide, and
the length is two small units.
3. tho upper corner of the vertical eye of awareness
(ye.ses.kyi.spy~n) is about one small unit below this.
4. thw akulla of the orow are two &11&11 units high, the
jewel ornaments tipping them one aaall gnit.
5. a width of eight small uaita.
6, a width of five emell units.
7. a 11eaoure of one ....u unit.
a. a meaeure of two small unite.
9. the bared fanea meanre two P"aina.
10. the left head ia aquariah in ehape, reduced in size ty
one small unit, snd of courageous ezpreaaion.
11. the chin measures tbzee base uni\a.
12. n opAco of three paiDa between the upper anc1 lowr
teoth.
l ' longth ot two aall uaita plus one baee unit, OJlL\Cn
one omnll unit vide.
14. thr. propOrtion ot tbe right taoe, with eeduotivc
expreaoioa, are reduced by two aaall UDita plua two graina.
15. lengtb of tbree ...11 uaita, apace two base unite vide.
16. the gap ia a mere srain wide.
I7. the rear face, with ooqueUieh ezpreaaion, is reduced
b7 two small ani ts.
18. apace three graiDa ride.

i6~6====~========~~================================:d

19. length of two small unite, .pace one aDell unit vide,
viti lhc: overall llbape reae11'bliDs a fildl a 'belly.
An for the partieulu tnatMnt of the ahapoa or tho rou1 focea,
the lc1't aqunrillh oae i.e vathful 1 :rat 'beautiful; aoothe:r

e:~:planntion

ia that llu: ezp:reaa!on ia at once aajeatio uad terrible, tbreateoing

to evil apirita, CUDi'bal 4emou, ucl pretaa (hungry ghoata). 'lhe

rear aeaame-aeecl abapecl face 1a of the aort cl:ravn tor peaceful fellinine
4iv1n1tiea. 'l'he :r:laht eg..,ahapet taoe ia deac.ribad aa that of a c:reat
pe:raon, ;youthful uu1 han4aor or 80Mtim. . aa of the kind tor
feminine 41Yin1tiea 1 'beautital to lOOk at.

167

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Section IV

The Proportions for the Bodhisattva Model

Tho total height of thie model tor the forms of bodhiBattvas

(byan.chub.oems,dpa') is one hundred and twenty small units, arrived at
by tri1uming tho extra one-half small unit added to each large unit in
the section above on the model tor buddhaa' forms. The example used

@,

for thie layout, in diagram

is for the bodhisattva Manju6ri
('Jnm.dpal.dbyane),
J:'irst the central vertical line is drawn, then the tol'aost horizontal ~ine to mark the top of the jewel-tip, below this are drawn
the following horizontal lines in descending order: for marking the
base of the jewel-tip, at five small units; the topknot, at five
small units; the u~i.-, at six small units; the forehead (i.e. the
hairline), at four small unite; the face (i.e., the chin), at twelve
small unite; the throat, at tour small unite; the centre of the chest,
at twelve small units; the navel, at twelve small units; the hips, at
four small unite; the genitals, at eight small units; the upper edge
of the knees (of the crossed legs). at four,small units; the lower
edge of the knees, at four small units; the moon-disc seat, at four
small units ; and the lotu6-seat, at twelve small units. ~o the
(divinity's) left of the central vertical line, four vertical lines
are drawn at one, four, tvo, and eight small units (to lay out the
measure tor the left arm)& the measures for the right arm are the
same on the right aide, with the addition of two further vertical
lines at six small units each.
Next, the point four small units to the left of the central
vertical line alone the topmost horizontal line is connected to the
point four small units to the right of the central vertical line along
the horizontal line marking the centre of the chest; this latter point
is connected to the intersection of the central vertical line and thP
hurizontal line marking the genitals& these lines show the angles of
the upper and lover torso. The intersection of the horizontal line
marking tt.e throat and the central;'tertical line is connected vi th the
intersections of the horizontal line marking the lover edge of the
knees and the fourth right vertical line ~ from the centre and the
fourth left vertical line in towards centre. the intersection of this
horizontal line and the central vertical line is connected with the
intersections of the horizontal line marking the upper edee of the
throat (i.e., the chin) and the second right vertical line out from the
centre and the fourth lett vertical line in towards centre.
171

The lines for the l&Jout of the crosslegged pOsture are ae above
in the section for Vairocana (Section II).

The line -rkinB the uppe1110at eclge of the right upper arm h
at by connecting the interaeotion of the horizontal line
aarking the chin and the first right vertical line 1 vi th the intel"aeotion of the horizontal line marking the lower edge of the throat
and the fifth right vertical line. The intersection of the horisontal
line marking the forehead and the aixth right vertical line is connected
with the point six small units 'below the borisontal line marking the
lower edge of the throat and the fifth right vertical line. The intel"section of the horizontal line aarkinc the forehead an4 the sixth right
vertical line 18 connected lfith the point BiX small uni ta below the
horizontal line marking the lower edge of the throat along the fourth
right vertical line: this givea the line marking the inner edge of the
upraised right forearm. The angle of the brandished sword is found by
connecting the interBection of the right vertical line and the horizontal
line aarking the forehead with 'he interaeotion of the firBt right
vertical line and the horiaontal line aazking the forehead with the
intersection of the first risht vertical line and the topmost horizontal
line.
1. there can be a fal'ther extusion outwards of two small
units here.
2. there can be a reduction of two small units here.
' length can be either thirt, saall unit or two large units.
4. the five look or tut1s (sur.phud.lDa.bcin) are e%plained
as having a length of four small units.
Also. the eye are drawn two and one-half small units lonl' and
one-half a small unit wide. The remainins dimensions are as given in
the section on the buddha model. Pinallf, these proportion apply to
all forma of Manju&ri; the differences are lllllited to varying, colours
(the white md orange foru, etc.) 1 and more or fewer arms, 8.11d are set
forth in the canonical texts.

arriv~d

172.

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.Still iD Section IV, 41qraa
on~tbouaand-ar~~e4,

pvea the lQout for the

one-tboue&n6-IIJ'&cl fora of AvalokitePara

{a~an.rae.

gsia.pbyag.eton.ep,yan.aton).First the central vertical line ia dravn,

then the following borisontal linea iD aaoendiDB orclera the lovermoet,
aarking the baae of the lotu~aeata above tbia, at twelve small unite,
tbe top of the lotus; at four all UDita, the aolea of the teet1 at
tour small unite, the tope of tba feeta at twelve aull UDita, the aidcalf; at belva BMll anita, . .1e lover eqe of the k.Deeea at four emall
anita, the tope or the kneear at twelve ...11 units, the aid-thigh; at
twelve oall unite, the geD1tala1 at four aaall unite, the hipaa at eight
emall units, the navela at four ...11 unite, the narrowing of the waiet1
at twelve ... 11 unite, the oentre of the cheat1 at twelve emall unite,
the 'base of tbe throat 1 at four ...11 ani te, the chiD 1 at twelve aaall
unite, the central face (i.e., the torebead/bairltne); at tour small
uni ta, the crovn of the bead a at eight aull unl ta, the central face of
the aeoon4 row (raae.pa' i. sbal) 1 at tour ...u unite, the crown of thie
bead 1 at eieht sl'll&ll unite, the central aambbogakiJa taoe of the third
rov (lona.aku 1 1.zbal)l at tour a..ll unite, tbe :rovn of thia head; at
aiz sraall units, the nirminakqa face (ap.rul.ak:u 1 i. sbal) 1 at two amall
units, the crown of tbie bead; at roar ...11 unite, the uppermost bead,
that of A ti'bbaa at one and one-half BMll UDita, the crovn of tbie bead;
at one eull unit, the uaoia&J and at one-balf a small unit, the jowoltip.

Aa for the vertical linea, a pair dravn one amall unit out to
either aide of the central vertical line marka the width of the face
of 'AmiUbba1 three ellftll unih out to either aide ot canbe IIIU'ke the
width of tlut nir.iiunkftJ'a fACflll tbnle &Del one-balf 11 un1h oul tu
either aide of centre aazke the width of the central aa.abo&aki1a face1
the line& urking tbe !lankin& taoee an a turther three and one-hrllf
small unite out to either aide1 tho .. ..r.kiAs the width of the central
face of the aecond rov are four ..all uita out to either aide; and
tboae aarkintt tbe flanking face a of this row ue a further four aaa 11
uoits out to eithor aide. Below this, tbe central db&raakiJa face
meaaureo ai::a:: emall unite out to either aide of the ce:'ltral Tertical
lillea lillea dravn a further ai::a:: BMll 11Dita out to either aide of thill
central face urtt the width of the tlankiDB faces of this rov, and tho
arapite. A further four eull 11Dita out to either aide ..rta the
ahouldere, and a furthor two amall unite out, the outer elise" of tho
upper aras.

178

Now tho linea ~e drawn tor the oonoentrio circles of arma. A

diotnncu or one larre unit :h aeaeun4 out to oithor eide of the central
vertical lina along the bori.ontal line aazking the centre of the cheata
mart o are made four aall unite abo... theae pointe. Uoing these aa:rka aa
centroo, area are 1nacr1bad of twen~ emall unite radius to mark the
elbows of the eirht ..in araa r a rad:l:na of a turtber aixteen sll&ll uni ta
gives the measure for the firat circle of fori7-eight han4a, which an
held in looee fista. 71ve 110n oonoentric ~ca are inscribed, eaoh one
of rndius four ...11 unite ~ater than the laata theae arcs are divided
into ai:l: equal eectora, and the uoa of each aactor from 1Dnarmoat out;..
warda &J;"e divided into twelve, fourteen, aiztaen, eighteen. and ben~
banda, reapeotivel7. Thia ukea a total of four hWldred and eight,' on
one aide, and a aiailar number OD the other, for a total of nina hundred
and sixty, addinr the fortr-eight &rae of the first circle sivaa a crand
total or one thousand and eirht uaa, la -... drawinr manuala, the
aecondary-eaana1:1oa baade (IIPftl,pbJq) ue urangetl aa described aboYe,
but the main ar11a are 8&14 to be for~ :Ln aumbera while this would give
a total of exact~ ODe thouaand and DO ao:re, there 1111at actual~ be oDe
thousand and eight ar1111 1 and eo i t b DeO..IIU7 to draw forty &rill :Ln
the first circle 1 wbiob nuaber doea DOt include the eight fore110at arma
bold1D6 the &,ymbolio illpl8118D.ta.
1. 11eaaare111811t below ia etltat nall ani ts.
2. sa110 aeasurer~eut for wrathful Dirminak~a face,
'
4.
5.
6.
7.

,_

the aalllbbogU.qa fao.. , and

the aeoond I'OW of taoea.
the ll&iD. araa, ri th ..,... on each palm.

of the aeconda7-aMD.&1:10D banda, the twelve-baud aactor,

the fo'IIZ"teaa-beD4 aeotol' 1
8, the a1zteezt-beD.d aeotol',
9. the eishteezt-beD4 Motor, aacl
IO. tJie tnn~-han4 MOtOI',
II. width of tnn~ 11 aalt.,
12. one ot the a1z cto:ra.
I3. two . .u 11D1 ta llhort of the ho:risoDtal line llllllitins
the knee-level,
I4. boa hen, a:roa 1Dao:rille4 of :racliua three ancl four larre
units, to le:tt boa the :riptbad point ancl to :risht fi'Oa the letthand
point, give the abape of the halo 81'011Dd the heads. !be nimbus (Z'IJ&b,
yol) oztenda about iz aull UDita out t.roa the oute:r.aat circlQ of
ha.ndo, but ie aiap~ draw in, DO apeoitio :radius being gi.Yen.
'l'ho reaaininB elemanta, ornamanta, imple1aenta, a.nd oo forth, cllll 'La
_QU!tt! .i.u tho cangniMl deecrinf!4u
179


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Diograa

pvae aore detailed ,roportiona for tho elnen

beada (of thia fora of Avalokite"ara), !he dharaekifa face ia twelve egall
unUs ~~quare, the eara are each tvo eaall uni ta vide; the flanking faces
are a further six eull unite out to either aide, The eyes and the noaa
ere laid out as in the section above on Vairccana (Section Il),except that
the eyes in thia caae are two u4 one-half au11 units lons and one-half a
...11 unit vide, Tha fiYe-pointed crown, vhich 1a eix small unite hip
and drawn according to the ueul patten, starts in the aiddle of the
crown of the bead, which b four na11 aita hish (frca hairline to crown) 1
tllo crcvn with five pointe therefore oovere the throat of the bead above
the central dbarmakiJa face
Nut, four eull unite are subtracted from the 11eaeure of the dhar....
kiya face; the remaining eight emall unite are redivided into twelve equal
parte, giving the ...eve of the HCOild central face. So 1 above the crew
of tne bead of the oentral dbar.akiJa face, the threat of the second
central face aaasurea four of theae nev unite, the actual face twelve of
these unite, and the orovn of thia head (from hairline to crown) four
of these unite in height, !be eara are two unite vide, and the flanking
faces a further aix nev unite out to either aide, The fiv ... pointed crcvn
ie aix of theae nev unite hip, and the .,ee and eo forth are ~~eaaured
accordinly ( 1. e,, aaing the atandard proportion a but the new unit of
aeaaure),
Again, four unite are .ubtraoted fro the meaaure of the second
central face, the reaainder ia redivided to give twelve equal unite, and
eo forth ae above, Farther, oigbt of theae ~at units of measure form
the basis for the 118&aure of the ni~ekilva face above: this is the
general principle,
'.1, . .asure of nine 'baae unite (i,e., tvo and on ...qu11rter

nall uni ta)

2,
eighths small
3.
eightha small
4.
5.

of fourten baee unite and one grain (three and fh ...

unite),
of twenty-one baH unite and one grain (five and tbreeunite),
of thirty-two baae unite ( eigbt a~~&11 anita), and
of twelve small unite,

183

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Diasr..

ehova a 'fuiaUoa tor the le,out of tho tacee of the

eleYen-tacod fora of AYalokUenua. 'l'he 41lai'Mir.l;ra faoe ie the uaual

tvoln aull unih 1n heisht, while the tluk1DI faoee ue here atatod to
be a further four 11 unite out to tbe ript u4 left it thia f'o~UDit
Maeure !.Delude a the ridth of the eue of the eell'tnl faoe, thh will ren1 t
ia tlaakin faa.e which are too IIU'I'OWo 'l'he paeral nle for figure with
oalJ one fl~ins faee oa eitber a14e of the eeatral oae, ie to draw the ..
flultiq facea eacb eix 11 uita 1D ri4tb (i. e., ill pofile) 1 while for
figure with a441t1oaa1 faoee, the rule ie to 1Dolu4e the width of the
oentral face' ear :I.D tbia eix-uait riUb of the llukba face., while
aclditioaal facee to the left oz right an Mch two 11 uita wide, or
ena one emall uaH (lor fipree ncb ae Sitaobatra, which ban MQ
facee)l thie 1e the opiaioa of the en41te allcl naerable 'llleW&IlS
Jow, the Hcoad oeatnl taoe aacl the oeatnl IIUbJiopkiya faoe ue
Nid to be each eicbt 11 .Uta laip, ritb the croae of the beacle
eacb four IDall aita (troa bairlille to OJ'OWD)o lfOt ODlJ "cloee thie look
liD&ttractbe, b'llt U faile to ooafon w ataadaft poportioa, where the
oron of the head h aner a f'llll oa. .balf of the uaeure of the face 1
allow1DI for the throat of the aext hea4 abOYe the aro.a of tbe lower
bead 1e iateaded to be aa attraoUn featv., but ill aot'llAl pradice :La
DOt appealiq wileD eo laid O'llt. SiailarlJ, the wrathhl.

Di~altifa

faoe

hae a aap1q uth, llelr:iD& the obill IIOMwbat loapr thaD DOnal: whea the

crow of tbe a'bbogaltQa bead 'below bae hiD laid ot ae sina, there 1e
DO apace for extead1q the cb1D. PiaallJ, to the illetruot1oa to
aeaaure ODe eMll UD1t to either aide of the oeatral Teriioel line for
the wiclt.b of the face of A~-bba, thie &bee the faoe aa O'blOD& a'llape
whicb doee not utcb tlaat of the otbere.
1. faoe 1e twel'fe 11 .Ute Jaicb, ad
2. eisbt 11 'llDita laiP.
' bairliae to cron Maeane fov ~1 1ID1te.
4. for aeethet:io naMDe, ODe .all 'lllli.t 1e a'btracted fro
the eipt-11Dit ... nn of the face, ad
5. two saall aaita hoa the fov-'llDi t !Ieicht of the cron of
the lleaa.
6. heisht of aix eaall 11111te.
7. shoe the reoouea4e4 ODe Ullit cloae aot nit well bere,
the aeafJIIl'e ie two ...u 'lloite.

e.

the tlantiag faoee U'l three ...u.ite vide.

9. a YU'iat1oa of the fou-ait uaeure.
10. the fl&DJtillc faoee an fov ...U aaib riu.

186

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section V 1 ~be Proportiome for tho Kine-unit lodel for

leainine Di~initieo {rGJal.Jua)
!he total be11ht

to~

tbe tor.e of feaimiDe

41~1n1tiAe

ia nine

opaao (t.bo.dp.pa) or laJ'p alba U'f141Dc eaob lu1e W'IH into twel..
...11 unite 11~ a total of ODe bUD~4 ud ei1ht ...11 unite. Of
tbeH, the cron of the bead ...INfto tbJ'oe . .u uoihJ the face, twelve
..all unite, the throat, three ...11 aaito1 to the centre ot the cheat
18 a dietuce of 'heln ...u altaJ to the aaYel, uotber twelve eull
u1h; ud tci the ceDit&la, uotber tweln 8Ml1 Wlih1 A total Mann
of four and one-balf 1U'1e 1ID1 to, or fif\7-foUI' aull uni ta, between
the cron of the bead and the pni'tala. le:zt, the hipa sur tvo
aall, 'llllih; the tbicba, twenv-two ...u 11Dita 1 the kneu, three emall
11Dih; the calYOe, twuv-two . . .11 11Dih1 and tho teela, three all&ll
uita: tbe total aeann 'bob tbo pDiQ.l npon u4 the feet 18 alao
four ud one-half large 11Dita. tbe total Maeve of upper and lower
'boQ 1a niDe larco unite, ozo ODe ba4Z'o4 and o1pt aull un1 h. 'lhe
arapit 1e ten ...11 unite out tzo the oentnl vertical lineJ the upper
ara ia eipteen uall unite lona; tbo foreua, fourteen ... u unite;
ud the band, one lar.:e aaita IIBII:inc a total of fitt1-four e..ll unite.
A aillilar total on the other aide ukee for a total ridth of one
hundred ud eight eull 11Dita, and 110 the ton 1 of eq'llal width ad
heipt.
I'J'Oa tbia 'baeio 80del OGaeO the lqo'llt for the Hated form of tbe
nurable !iri (rJe.btnn.opol.aa) iD 4iqn.a

@.

l'irat the

central vertical line io d:ran, tbu the top.oot horieontal line, urkinl
the tip of the 1l~ipa. Below tbia, borieont&l linea are dranu at four
emall 1lD1te, for the 'baH of the u~pa1 ~ 111z omall 1101ta," for the
'baH of the toJknot 1 at tbne aall aai ta, fozo tbe baiZ'liDI at 'helve
. .u UDita, for the faoe (l.o., tba obiD) 1 at tbne aall UDih, for
the throat; at twelve a&ll 11Dito to auk the oeAtre of the cbeot1 at
eisbt e~~all uni ta to auk the upper abdoaea ( tb'lll aacl) 1 at four nall
1ID1 ta, for the aa:r:rowinl of the waiot 1 at twelve ...11 u1 ta, tor the
pili tale; at four aMll 1lDita 1 to auk tbe tmda:raido of the kneee; at
twelve ...u 'llDita to auk tbe ricbt &DkleJ ud at ei1ht amall uita
to auk tbe eole of the foot, !o the ri1ht of the central nrtical
line, Yertical linea are d:rnn. ~t four BMll 'IIDib for the umplt; at
a fUI'tber four amall unite fo~ the eho1llderJ and at a further tvel~e
uall unite tor the ript klleaa to the lett, nrlical linea are draw
190

at siz small unite to mark the centra of tbe cheat; at ten small unite
for tt.e arLlplt 1 and at aicht 8111&11 unita for the lett elbow and knee.
nezt, a point tour aaall unita to the right cf the central Yertical
line

alon~

the topmost horisontal line ia connected with the intersection

of tr.e urat Yertical line and the bori10ntal line II&J'kint: the centre
or the

chest1 this latter point i8 connected with the intersection of

the central Yertical line and the horizontal line aarking the genitala:
this shove the ancle of the upper and lover torso. The intersection of
the first lett Yertical line and the horisontal line markinr the centre
of the cheat i8 connected with the intersection ot the outermost left
'ferticaJ line and the horisontal line u.rkin,. tho seni tale: this ... rke
the outer edse ot the lett thich. !be intersection or the second left
Yertical line and the borisontal line ll&l'kin' the chin ia coMected
vi th the intersection of the outen10at lett Yel'tical line and the
borisontel line ll&l'kiDC the lover abdo..a, to aark the outer edGe of the
left upper ara. !be iotaraection of the central Yertical line and the
bori10ntal line ll&l'kiDc the cenitala 18 ooooected with the interaectioo
or the outermost richt 'l'erticsl line and the borhootal line markinc
the kne ... leYal,

to aazk the iDDar a4ca of the richt thigh. The latter

point is coDDaotad with the iDtarMction of the second richt nrtical

line and the hori10ntal llna .artinc the aakla, to shov the outer

ed~e

or the right foot.

Tho face ia aillilar to the rear face described 1D the preYioua
8ection on Cakr&M!pt'&ra, tboacb the 8Je8 are shaped 'like a fish' a belly',
and aeaeure three 88&11 'IIDita iD lanctb &Del one small unit in width: some
CiYo tho width aa one anel one-half ...11 'IIDits, but this ia aoevhat
unattractive for a peaceful feainille diYiDit:,, eo th former rule h
to be followed. !he narrower forehead 18 aiz aaall units vide, sligbt}J
wider at the leYel of the ears, and the lower face i8 narrower; the
overall shape is like an ace. !he cheekbone8 are

bi~h

and atlractiYe.

~b~

ar and earlobe are aacb three ...11 UDita lonP, and one and one-half
a11111ll uni ta vida. !he throat 1a a1z aaall uni ta vide; the aeooure fro a
the

bau~

ot the nedt to the sho'lllder ia tan a111nll

unit11. Tho nhouldora

arv rounded. At the lBYel ot the braaata, the width of tho cheat ie
nine amoll units, with a diatanoe of one aull unit frou the edt:o of the
bronol to tho armpito Tbe Width Of the W&iat iD either fourto!CII

0111811

unitu ur one lares unit (i.e., tvelva aaall unilo)a some artiol:J even
uoe a width of tan aaa\1 unite. If the width or the body et tlw level
of toe oi'Yel is dravn aa titteen aaall aita, it ie

recom~.end~d

thst

onr. uaf'a the vidth of one larca unit at the wnict. In orhr to uulk'

I'll

F======;::::::====::~-------=====--

the lover abdoHn wide and t\111, a riclth of oirhtaen aull uni t:o iB uned
'bolov tho nnvol level. The YUl1'a or labia ujora nre ab: a111nll uni tn lont:,
the labia inora (seu.bru) three ..all unite lon~. tbe buttocka ore
roUDd, tour ...11 unite in radius. tbe tbi~he ancl cal1'a8 aro vido at the
top, taporin,; 8lightl1 towarda tbe 'botto .. !'ho 0)'08 are eat vir\n "f"'rt,
the lipo are tull and appealins. fhe t)'a8 and clillplea indica to n ni lin1:
ezpreaolon. 'l'be teet and bands are 4aeo:ribecl as supple and omooth, utterly
charllin~.

&. tho U!1!11f& h upript, tou e~~all unit. :Ln lenr,th.

2. tho e1x 811811-W~it
is ter4 the ..aeure ot

eve

Aaitibbo.

3.
4.
5.
6.
7.

the
six
ten
the
the

width is ei1ht or niDe ...11 units,

small units, and
small unite.
leyout tor tbe .aoD-clieo eeat.
height ot the lotu~eeat.-

o. the teet are either fourteen saall units or one large

unit in lenr,tb.

192

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Dial:l'a

dowa u

alte:raate lQout tor the Conn of Tira,

which u..a a riat1oa of the ~o411J poature tboucb it doea not dowiato
fro the ataudard aeaeure of oae hwa4re4 ud eisht aaall uni h. N.rat the
oeatral ertioal line ie dzawa, theD the followiDc horisoatal linea are
dzawa iD aecandiDB ordera the 11De aarklDB the lover edge of the lotusHat 1 abne thia, the lOWU' edp of the rieht root, at aiz 11 unit IS;
the edce of the aoon-41ao ..at ud the ukle of the riBht toot, at eiz
aaall uitea the lower dee of the r!Bht kue &Dd the lover edce of the
1D4ravn lett lee, at tu -11 11Dita1 \be upper eqe of both kneea and
the 11 of the suitala, at fov -11 aUaa the nellini ot the hipku, at eicht -11 11Ditaa the aarroriDC of the waiat aud the elbov
of the rirht ara, at tov ...11 UD1ta1 the ceDtre of the cheat aud the
:rirht arapit, at tvele aaall 11DUaa the oatre of the throat and the
lett aboulder, at twele ...11 UDitaa the ObiD, at three eaall unite;
the face (i.e., the hairl1Da), at twel?e ...11 UDita; the crovu of the
bead, at three 11 waUaa au4 the toplmot of hair, at 3b a~~all
UDita. !0 the riBht of the oeatral ?ertical liDe, vertical linea are
dzawa: at aiz 11 unUa to Ml'k the riiht cheek aud ahouldor, au4 the
~aee of the risht thiclll at eipt -11 uU to IIUk the right elbow
u4 the Up of the lup toe ot the right toot 1 aad at be he aaall
UDi te to lllilrk the oater edge ot the r1pt bee. 'fo the left of the
oeat:ral nrtical liDe, nrtioal 11ae an 4:rawaa at aiz uall UDi ta
to .utt the left obeet, the outre ot the cbet, ud the aaltle of the

4&

left foot 1 at tea -11 ulta to ..n: tiM

of the 8boal4er, the
lett aide, and the aiddle of tiM left oa1t1 u4 at tweln aaall alta
to II8J'k the outor edse of tbe lett bee,
lfext, a poiDt a1x -11 UDita to the r!Pt of the oaat:ral nrtical
liDe aloDC the horhoatal liDe MZitiac the Up et the tollltaot h
conDeote4 vitll the iDtel'..otioa et tile tlrat left nrtical ~e aud
the llorhoatal U.ae IIUk1ac the oeabe ot the ob. .t, thia llhowa the
ucle of tbe apper torao, 'fbe laterotioa of the firat left nrtioal
liDe aad tho hori ..atal liDe .azkiac the wait 1 CODDected vith the
interaectloa of the oute~at lett rtioal llae ud tbe borisoatal
11De ..rtiDc the geaitalaa thie aarka the oter edge of the left thigh,
!he laterMctioa ot the ceat:ral nrtlcal liDo u4 the horiiiODtal lial'
aukiDB the waiat ia CODDoote4 ritla tlao 1DterHoUoa of the O\lteraoat
r1pt nrtical liDo ud the bori.oUal llae aukiDs the le!li tala a thia
ll&l'ka the outer eqe ot \be ript tbip, the iateraeotioa of the ollteJIaoat rlsbt rtical liM u4 tM ltio::ri.oa\al Uae .ukiac the lower edge

198

of the kneee 1e ooaneotea with the tateraeatioa or the firat rlcbt

ertical line and the horisoatal liae IIUitiac the 11 of the .ooo-diec
aeat: \b1u aarke the outer edre of the oalf of the exteade~rlaht las.
The int.oneotioa of the fir1t left verUoal U.ae and the borhoatal liae '
marking tha lower edce of the kaeee i1 OODDeoted with the iateraeotioa
of the eecoad rich\ 't'8rtical liae ua the llorisoatal line t'llarkiac the
leel of the aeata thie 8ftrke the badE of tbe left foot and the .ole
of the ri;rbt foot. !he interMotioa of t!ae tiret riabt Tertical line
and the hori110atal line .ukiq the lower eqe of tile throat ia OODftooto4
with tbe iateraeotioa of the MCOD4 ript vertical line aad tbe borisoa'-1

ace

liaa aarkiac the wai1t, bowtar the outer

of the pper r!sht araa
coaaectiac thie leUer point with the ilaterMctioa of tbe outer.oet
riabt Tertlcal liae aad the borisoatal liae .arkias \be aenitala
ahowa tba outer eqe of the ricbt fonara. fte lateraectioa of the
third left Yertical line aad the borisoatal line u:rttiDS the chill 11
ooDDected with the interaectioa of the otezwoet left Tertical line
and the hori ..atal line .azkiq the wa11t, to aark the outer edce of
till upper lett al'llo

nal.

The lqout fol' the r..e aa4 'ap,ifl' 11 a1

Tbla layout 1&
ooaaidered particalarlJ aotevol't~ for the .anr detaila ~ova with a

111a1aua nuaber of linea, preeel"fiac a11J101le4 ton ud well-Mannd

poeture. 'l'he ton iDoliaee eix 11 'IIDib to the riabt at point 1.
~he tea aaall-ait to)lkaot i l at point ZJ the o..U1c
aDd the tipa of tlw lotlaa at poilat 4.

Diacraa

at po1Dt ' '

sbows the lqout for the fon of 'l'iri acooi'41Dr

to the tra41Uoa of taMl (lfa'.ael).

1. the

~~eann

of the -.le of tN uppe-r tor 3Dd

2. lover Ml'80e

4ce

3. the O\ltel'
of tlae tor
4. the aeann of the lett fO:Nal'lll, which la dran iavarde.
5. the outer eqe otthe lett tbip.
6. the lewe:r eqe of the iD4nlt2 lef't ler.
7. the ialler e4re ef the otatret0be4 risht ~
e. the otel' etce ot the . .t.tretabet ricbt lee.
9. th otel' _.,.. ot the ript thip.
10.

conce~'~\~"8

thie JOint, aotl\iq 4efinite b

eta\ed.

199

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A.Dothr part of tbh fifth notion ooaoel'lla the liQ'out for for.e
"lth lll."lfG' 1.1cn't ;1nd ar111:. 1 auG aa SO~ (So.aor. 1"bralle... , ft ptollctoful
felld.Diae dhiaitJ), ahon ill. 4iapu

Firftt tbe ~ntral Yertioal 11De la ~~~-. tben tbe top.oet horizontal
line. Bor11't>ntR1 lbee are ran 111. 4eaoen4iac orter1 at. au ...... u un1 te,
to
the baea nf the topkDota at three ...11 uaita, the hairl1neJ at
twele amell uotta, the faoe (i.e., the obiD)I at tbree a.all unltft 0 the
throat& at tfto eaall uaita, tbe oaatre of the oheata at twele nmall unite,
the D&rrowlng of the wdat1 at tea aall GDite, the tope of the kxuteft:
at four au.ll 1mita 1 tbe ceaital81 aa4 at tnlYe 8d&ll \Illite, the ankle.
!o the risht of tbe central Yartioal line, three Yertioal linea are drawn,
at aiz, ...en, and twelYe ..all ..tta1 to the left, three Yertical linea
are drawn, at ai:l:, .U, ua tea 811&11 ..tta.
Rext, a point tea aaall .nit to the rlSht of the ceatral Yertical
line aloag the topaoat ho1'110atal 11De 18 OODDected with the iateraectioa
of the firat lett Yertical line aad the bori.aatal liae mazkiag the
centre of the cheat, to show the ucla of the upper toreo. The intel'aeotioa of the firat risht Yertical 11De aad the borisoatal line markin
the throat ia connected with the iateraectloa of the central Yertical
line and the horisoatal liae aazk1Dg tbe geaitala, to show the position
of the risbt aide of the torso: the iateraeotioa of the central vertical
11De and tht> horhontal line aal'kia& the upper edge of tbe knt>rs is
OODDected with the iateraectioa of the outermoet lett YerticP.l line and
the horisoatal line arkins the throat, to show the left aide. ThP
iatereectton of the central Yertlaal line aad the boriiDatal lino arkin&
the waiat ie connected with the 1Dtereectioaa of the outermost right and
left Yertieal linee and the boriiODtal line ..r.Eins the upper edP.e of
tbe ltaeee: thie urka the outer eqe of both thipe. the iatereec:tion
of tbe outeraoet right Yertical liae and the bo~iaoatal line aarking the
genitala ie CODDected with the iDtereeotion of the ..ooad right ertical
11De and tht! borhontal line II&Biag the Bllkle 1 to show the outer edge
of the eztended ri&ht calf. !bough the upper torao of thie for~ is
inclined, there is no allowance for thie aade in the total hei~ht.
!be .. anre of the circle of ar i aa follows: using a point
four emall unite above the bori10ntal line ..rking the centre of the chAst
along the firet right ertioal line, an arc of radius eisbteen small unite
1e inscribed, aarking the
of the upper right U.8J a further
radiue of fourteen ...11 unite aazka the ..aeure of the right forearmaJ

rk

eve

208

aDd a further eiz s ..11 anita, the ..a..re ot the hands holding the
~~Yllllolic iarpltl ..ote. Fl'O a poiDt ei&ht ...11 tmih abO"t'e the horiaoota1
line aarking the centre of the cheat a1oac the second left ~ertical line,
eiailar area are inscribed to the lett to li~e the measure for the left
araa.
Using this 110del, the Mawn tor the oirclea of araa h aa aboYe
for all Cigureaa the aiz-araed forme ~oh as Lo~~~&chen (Lo .a.can)f eightarMd foru wch aa JikteDWIIIYO ( 'I'.O~er of the three worlds , ~ fora ot
'l'lri) 1 teo-ar4 foraa ncb as 'l'ODcbu Rab.1(another p.aceful feminine
41~ioUy) ; and t-l'f'e-arMd for INch as Sordraoe. The mambur of arma
detel'llliDee the placiDc, while the ornaMnte, -.,mbolic implements, and
coloura auet be learnt troa the raepecti~e canonical descriptions.
1. the tl&DkiDr face is four saall unite wide.
2. the rear face ia two eaall Wlita vide; and for figures with
.ore faces, these are each to be one aal1 u i t vide.
J. the aooD-4iso seat lies tour aaall uni ta alovo thia point.
4. the twal'f'e aaall-uoit lotua-eeat.

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Still io thS.a

~ifth

Motion 1a the lQov.t, 1D tiaera

ot the dakiDi Sukhaaiddhi, a ~iBU:re leu!Dc to the left. The central

vertical line is tirat drawn, then the topaoet horizontal line marking
tbe crown ut the head. Beneath this, hori10otal linea are drawn to mark&
the forehead, at three amall v.nita; the chin, at twelve small units; the
throat, at tov.r eaall unite; the armpit, at eight ..all unite: the centre
of the chest, at tour amall anita; the vaiat, at ten a.all v.nite: the
navel, at two e.. ll unite; the top edce of tbe knee, at eight 3mall
uni to: tho al~c:alt, at fou aall ui te1 the lower edge ot thu other
knoe, at tour -11 uite, the aooa-tiao aeat, at uix emull unltu; the
ataaone ot the lotQa-..at, at two aaall anita; and the lotua-ooat itaelf,
at ten amall uoita. To the right o~ the central vertical line, a vertical
line at twelve ...u ani te ..n:a the arapit 1 at ten ur>ll v.nits, the
elbow: and at three ...11 unite, the ov.ter ea,e or the knee: to the left,
a vertical line at aiZ amall unite aatka the armpit: at twelve small
v.nita, the elbow; and at eight small unite, the outer odco ot the knee
Next, a lioe ia ateaclecl troa a poiDt fo'IIJ' 11111811 unite to the right
ot the central nriioal lioe along the borisontal line urking the centre
of the cbeet, thzov.cb the inter.. ction ot the central vertical line and
the horizontal lioe auk!nl the chiD, up to the top1110at horizontal Una&

this ahowa the &D~le of the 11pper toreo. '!'hia point on the horizontal
line aarking the oent:re o~ the cheat ia OODDeoted ri th the intc.raection
of the central vertical lhe ancl the hori10atal line aarking the upper
edge of the koeea thia .aova the angle o~ the lower torso. The pointe
where the outeraoat riht and left vertical linea ioteroect tho horizontal
line aarkinr, the v.pper edge of the knee are ooonected with the inte~
eection ot the central vertioal line and the horizontal line aarking the
navel 1 thie marks the outer edge of the thighs in the croeslegged posture
known oo tl:e 'bhodiaattva poetu:re (He.dpai.alcyil.krun). Tho inte~
section ot the tirat right vertical line aDd the horizontal line marking
the chin is connected with the intersection of the second right vertical
line and the horizontal line marking the waiat 1 to give the outor edge
ot the upper right ara. The intersection of tbe eecoud right vortical
line and the horizontal line aarll:ing the navel ia connected with the
intersection of the firat right vertical line and the horizontal line
marking the upper edge of the kDeea thie above the outer edge of tbe
rit::h t for.,urm. The intereeotion of the left vertical 11nu -n. ing tl.,
armpit and the horison'tal line aarll:ing the armpit is connected \:ith the

i.Dtereection of the eeconel left Terti cal liDe eel the hori 110nta1 liDe
.-rkin the vaillt; then a poiDt tn .-11 11Jlita abOTe the latter point
1e ooDDecteel with the iDteraeotioo ot the outezwaat lett Tertical line
eel the hori110ntal liDe u.rkiDc the anapita the fol"'ler llae IIUke the
iDDer eqe of the upper left ana, the latter the inner eqe of the
richt forear.. The left h&D4 1a helel ill the .uclra or peture called
illeli ca tiag non-oriCinetioa ( *7e. eel. atahon. pa 1. p~-c. rgra) vi th

aure

the ana aot -ch upraiee4. ~he reae1nbs

of w14the uel eo
forth are thoee inn 1n the pzoport1oae for the aia~liDit aoelel (at
the beciDDiDc of thie eeotioa).
1. the ten nall-ai t topkDot.
2. the eooo-4ieo Nd ie c.1z aall 'llllita bich, but four 1a
aleo pezwdeeible.
' the etaaae are tn ...U 'IIIli te hiP.
4. the lotu.. Mat 1e ten nall 'IIIli te bich.

214

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A voridioD of the Mated ton, that of the white fo1'11 of Sarawati

(db,-'~a.oan.dkar.IIO),

1a i:Acludecl 1:4 Section

.la per di&p'UI.

first the central nrtical. line 1a 4nn 1 th the top110at horisootal li:Ae
ning the tip of the topknot. Eelov thia, horisodal liDea an drawn 1:4
deecending order to lll&lka the baM of the tolknot, at four aall unite; the
hairline, at three uall unite, the face (i.e., the chiD), at tvelve aall
mU.ta: the throat, at three amall unitaJ the right an~pit, at four aa11
unite; the centre of the cheat, at eight ama11 unitaJ the vaiat, at ai% nall
unitaa the navel, at aiz a=all unitaa the top of the buttocka 1 at eight eaall
uni h J and the con1 tAla, at six eoall unite. To the right of the central
verlica.&. .line, vertical laea are draw: at eight amall unite, to mark the
centre of the cheat J at eight aall uci ta, to mark the &n~pit; at four 1111&11
11Di ta, to l:1'k the llicld.le of the upper &I'll; and at eight alll&ll uni:te, to
U%k ths elbow. '1'o the left of the cemtral vertical line, vertical linea are
draw, at. twelve Elllll unita, to mark the edge of the knee and the elbow;
and at aix aall uni ta, to mark the edge of the hand.
Bezt the intersection of the firat left vertical line and the horisoDtal line marking the centra of the cheat ia connected rith the i:Ateraection
of the centrsl vertical line and the horissontal line marking the hairline,
to show the angle of the upper toraoa the lover tip of thia oblique line at
the level of the centre of the cheat ia conneoted with the i:Ateraection of
the central vertical line and the hori%A:Intal li:Ae auki:As the buttocka 1 to
ahov the angle of the lover torao. '!hie latter i:Ateruction poi:At ia connected with the inhr~~ection of the outerzoat right vertical line e~d the
horhont&l li:Ae u.rkl.ll.g the anpita thia aarka the i:Aner edgea of the upoo
raised right knee and the right forau:a. 'l'hia latter i:Atoraeotion point of
the central nrtical line and the horbontal li:Ae eu!dq the genitala ia
connected with the point where the thiri right vertical line and the oute~
JDOat left vertical line intersect the hol'isontal li:Ae aukinc the navel, to
llll8rlt the outer edge of the upraiae4 right and lett thighs. ~ i:Ateraection
of the second right vertical line and the horisontal line u.zking the centre
of the cheat 1a connected with the interaection of the aecoacl lett vertical
line and the horison~l li:Ae ND:iq the thrcat,to IIILlic the inner edge of
the tar.
Vhen d.raYing genitals at the level of the appropriate horisontal line,
it ia necessary to aubtraot tvo amall units from the Terti cal eli stance, sino
the upper bod;r ia ra1u4 two Blll&ll unite. Othenriae, the proportiona are
as &boTe fer the other feminine clivinitiea.

221

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224

CD

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227

1A this fifth section, the lqout for the standing form ('bzhens.
at&ba.can) of Yajravarihi (rDo.rje.phag.mo) is shown in diagram

@.

!U catral vertical line is drawn first, then the following horizontal

linea in aacendins ~rder& the lowermost IIIILl'king the base of the lotu~
seat; above this, at tvelve Slllall units, to lll&1'k the top edge of the
lotu~aeat;

at four amall units, the stamens; at four small units, the

corpse trodden 'llllderfoot {zhabs.gnoni; at six s~ll units, the sun-disc;

at three small units, the height of the left foot; at twelve small units,
the lover edge of the knees; at aiX small units, the upper edge of the
knees; at twelve amall units, the 11114-thigh; at six ame.ll units, the
genitals; at twelve small 1111its, the narrowing of the waist; at six small
unit.s, the centre of the cheat; at twelve small units, .the base of the
throat; at three amall units~ the chin; at tvelve small units, the measure
of the face (i.e., the hairline); a1; three small units, the crown of the
head.; at six small units, the pig's head. (protruding from the head); and

'
at six small uni ta, the 'tips of the upawept hair.
To the right of the
central vertical line, vertical linea are drawn: at fourteen small units,
to.~ the armpit; at eight small units, to malk the knee of the i - .
drawn right leg; and a~ six small. units. to malk the elbow. To the left
of the central vertical line, vertical lines are drawn: at eight slli4ll
units, to mark the shoulder, hip, and the tip of the lup toe of the
left foot; at three small uni ta, to mark the middle of the upper arm,
the back of 'the left knee, and the edge of the sun-disc: and at seven
small units, to Ul'lc the elbow, the outer edge of the left thigh, and
the .edge of the stamens.
Bext, a point six 8111&11 unite to the right of tne central vertical
line alon& the horizontal line 1118.1'king the centre of the chest is
connected with a point six small units to the left of the central vertical line along the topmost horizontal line, to show the angle of the
upper torso& the lover tip of this oblique line at the level of the
centre of the chest is connected vith the intersection of the first
left vertical line and the horizontal line marking the mid-thigh, to
shov the angle of the lover torso. The intersection of the central
vertical line and the horizontal line marking the waist is connected
with the intersection of the outermost right vertical line and the
horizontal line malking the genitals, to show the outer edge of the
thigh of the indrawn risht leg. Itl this la;rout, the curve of the body
shortens the vertical measure by six 1111all units for the upper body,

228

ud fifteen small units for the lover bol\fa in some other IIWluale, this
is siven aa one amall unit for "he upper bol\f 1 and ten small unite tor
the lower bo~; while this does not conflict with the correct pro'I)O"Z"tione, thia latter fol"'l has lees of a Cllrle to the posture, end I have
not oet forth this l&Jcut here.
!!:he face of this figure is somewhat vrathtul. ( zhi.ma.khro) , the
-.outh boi:lg slight~ open vi th the upper and lower teeth about one
grain apa.rl end the canines slightly bared. Then are wrinkles of a
frovn betveen the 8Jebrova. !he eyes are tvo small unite long and
opaned one amall unit .and two base units vide. on top is the pis's
head, looking to the left. This divini't1 has outer 1 inner, imd ecret
udllinae acsociate~ with her, and forma with two faces, one face, etc. J
EO one follows whatever is appropriate in the circumstances when drav~ Vajravariihi. The felllim.ne divinities in the 8111'1"0UI1ding retinue
are proportioned aillilar to the main firun J while the heroes ( dpa bo 1
Sltt. vua) , according to the holy ones of the past, are measured
accordinr to the one hundred and twen't1 aall-UDit moanre of the
bodhic;attva 110del, regardless of the difference in appearance. The
ltfll:bolic implements end the orn.amenta must be verified in each ~se from
the respective tantra-text of either the early or later translation
schools.
1. the hair is upswept to a height of one large unit.

2. tho pig's head is ei% small units lonr.

3. the forearm is sixteen small unite long.
~. the breast is eight small UDits in diameter.
,
5. the oblique line showing the angle of the lower bo~ can
also be extended as s!lovn.
6. the sun-disc bas a height (i.e. tonahoriened diameter)
of six small unite.
7. the corpse-seat haa a height of tour amall unite,
e. the stamens, of four 11111&11 unite, and
9. *he lotus-seat, of twelve small unite.

22

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233

234

Also in this fifth section are the forms like Sengdongma (Sen.gdon.
ma), wrathful feminine devinities with extremely curved posture, as
shown in diagram

(@ .

Firat the central vertical line is drawn, then

the following horizontal lines in ascending order: the lowermost line

to marx the bottom edge of the lotus-seat;.above this, a line at twelve
small units to mark the top edge of the lotus-seat; at two small units,
the sun-disc; at ten small units, the height of the lett foot; at eisht
small units, the lower edge of the knees; at four small units, the
upper edge of the knees; at twelve small units, the genitals, and the
indrawn right foot; at ten small units, the navel, base of the thigh of
the indrawn right leg, and ~rist of the right arm; at eight small units,
the centre of the chest; at three small units, the left armpit and elbov;
at tyelve small units, the measure of the face (i.e., the hairline); at
four small units, the crown of the cl:cy skulls; and at eight small units, the
tips of the upswept hair. To the right of the central vertical line,
vertical lines are drawn: a~ eight small units, to m&%k the shoulder, the
base of the thigh, and the tip of the large toe of the right foot; at
twelve small unite, to mark the right knee and elbow, and at twelve
small units, to mark the edge of the clenched hand. To the left of
the central vertical line, vertical linea are drawn: at eight small units,
to mark the tip of the nose and the genitals, and the tip of the large
toe of the left foot; at ten small units, to mark the outer edge of the
left thighJ and at four small units, to mark the left elbow.
Next, the intersection of the second left vertical line and the
horizontal line marking the tip of the skull-crown is connected with
the intersectio~ of the first right vertical line and the horizontal
line marking the centre of the cheat, to show roughly the angle at which
the head is held: the latter point is connected with the intersection
of the first vertical line on the left and the horizontal line marking
the genitals, to show the angle of the lover torso. The intersection
of the first rignt vertical liae and the horizontal line mazking the
armpit is connected with the intersection of the outermost right vertical line and the horizontal line marking the tip of the skull-crown, to
show the extent to which the right arm is upraisecl. Then, the inte~
section of the first right vertical line and the horizontal line marking the waist is connected with the intersection of the outermost
right vertical line and the horizontal line marking the genitals, to
mark the outer edge of the thigh of the indrawn right leg. The inte~

235

section of the central vertical line and the horizontal line marking
the top of the left foot is co1111ected vith the intersection of the
second left vertical line and the horizontal line marking the upper
edge of the knees, to mazk the outer edge of the calf of the extended
left leg. The intersection ot the first lett vertical line and the
horizontal line marking the armpit is connected with the intersection
otthe second lett vertical line and the horizontal line marking the
centre of the cheat, to BhoY the inner edge ot the upper left arm.
In this model, the vertical measure ot the upper bod is shortened
by twenty-one small units, and that of the lover body by twenty-one
small units, due to the extremely bent posture. Very wrathful forms
such as Trllnalt (Khros.nag, a wrathful feminine divinity) and so forth
should be "measured according to the proportions.
1. "'' OY!l tradition defines this as the central vertical line,
2. but some others take this to be the central line, since it
oonnects head and genitals.
:5o there is also a method ot extending the line shoving the
angle of the upper torso to this point.
4. a method exists ot extending the line of the right arm to
thia-point, but one should consider the difficulty of drning the figure
in accordance with this layout.
5. the measures ot the sole of the left foot and the corpse.
6. the sun-disc seat has a foreshortened diameter of two small
units, and
7. the lotu~seat a height of twelve Slllall units.

236

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A particular variation of the curved posture treated in section v

is the

l~out

in 41asre.m

for the red fo1'111 of

Khe~

( Cha'lf7o4.

amar.mo). The central vertical line is draw first, then the following
horizontal lines in ascending order: the lowermost marking the base of
the seat; above this, at twelve small units, the top edge of the lotusseat; at four small units, the .-41ac seat; at tom: small units, the
supine and prone figures underfoot; at three amall uni ta, the tops of
the feet"; at ten small units, the lllic\-calves; at twelve small unite,
the lover edges of the knees; at three small units, the top edges of
the knees; at four amall units, the lllic\-thiBhaJ at twelve small units,
the genitalo; at twelve amall units, the D&vel; at twelve small units,
the centre of the cheat; at twelve small unite, the base of the throat,
at three amall units, the chiD; at twelve amall units, the measure
of ~he face. To the right of the central vertical line, vertical lines
are clrawa at tvelve sma.ll units to mark the topknot and the :right elbov;
at tnlve amall un1 ts to mark the riBht knee; and at twelve small units
to mark the upper part of the risht foot. 'l'o the lett of ~he central
vertical line, vertical lines are d:rawa at twelve small units to mark
the left shoulder and heel; at Biz small units to mark the left nipple
and the sole of the left foot; at siz small units to mark the knee and
toes of the left leg; and at tnlve small units to mark the lover tip
of the staff' (khi.tvin.ga).
Next, the intersection of the central vertical line and the ho:rizoDtal line marking the chin is connected vith the intersection of the
third ript vertical line and the horizontal line 11arking the geni tala,
to mark the outer edge of the right arm, which is extended downwards.
The intersection of the cemt:ral vertical line and the horizontal line
marking the centre of the cheat is connected with the intersection of
the fourth left vertical line and the horizontal line marking the
forehead, to mark the lower edge of the upraised lett arm. The intersection of the central vertical line and the horizontal line marking
the centre of the cheat is further connected with the intersection of
.the third right vertical line and the horizontal line marking the tops
: ot the teet, to show the outer edge of the extended riBht lags while
the intersection of the third :right vertical line and the horizontal
line marking the soles of the feet is connected vith the intersection
of the central vertical line and the horizontal line marking the genitals, to ahoy the inner edge of the :right leg. The intersection of the
central vertical line and the horizontal line marking the genitals is
. 243

connected vith the intersection of the second lett vertical line and the
horisontal line marking the upper edges or the knees, to show the inner
edge of the lett thigh1 and the intersection of the first left vertical
line and the horisontal line marking the navel is connected with the
intersection or the third lett vertical line and the horizontal line
aazkin& the upper edges or the knees, to show the outer edge or the
lett thisho The intersection of the third lett vertical line and the
horisontal line malkin& the lower edalt s or the knees is connected with
a point three small units towards the central vertical line from the
second lett vertical line alone the horisontal line malking the tops
or the feet, to ahOY the outer edge or the lett calf. Lastly, the intersection of the third right vertical line and the horizontal line marking
the forehead is connected rith the intersection of the fourth lett
Tertical line and the horizontal line malking the bue ot the throat,
to ahov the angle and the measure or the starr.
It is stated that the twelve small -unit measure for the width of
the face must include the right ear, and that the left upper arm has
a shortened length. Also, the semi-crouched posture shortens the usual
measure or the lover bodJ by ten small units. The widths tor the upper
_ and lover bodJ are as given previously, and the symbolic implements,
omamenh, and so torth should be portrayed according to the canonical
desoriptions.


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lncluded in $action v is the layout for the red form of lhecari

according to the system of liiguma (Ni.gu.lugs.kyi. mkha'. spyod. ,lear. mo),
show in diagram

@.

The central vertical line is

dra~1,

then the

folloving hori~:>ntal lines in ascending ordera the lowermost, 1arkine;

the sole of the foot: at eight soall units above thi~, tu nRrk the
right ankle; at ten small units, the lower edge of the righ't knee; at
.four small units, the upper edee of the right knee; at tvelve small
units, the mid-thish; at four small units, the genitals; at ~on small
units, the navel and the right elbow; at four 11111all Unite, the narrowing
of the waist; at eight small units, the centre of the chezt, lett knee,
and right armpit; at ten small units, the left armpit, throa~. and right
ear; at ten small units, the forehead and left elbow; at six small units,
the middle of the left fore&rQ an the tips of the toes of the left foot;
and at eisht small unite, the left vriet. To the right ot the central
vertical line, vertical lines are drawn: at six small unite to mark the
right armpit: at four small uni tiJ to mark the tip$ of the toea of the
right foot, the right hip, the middle of the rjght ear, and the centre
of the brow; and at six small_unite, to mark the outer edge of the right
thigh, the rie;ht elbcv, and the forehead. To the left of the central
vertical line, vertical lines are drawn: at eight 11111nll units to mark
the left armpit; at eight small units to mark the hollow of tbe knee;
and at six small units to mark the left knee and elbow.
Next, the intersection of the first right vertical line and the
horizontal line marking the throat is connected vitu the intersection
of the outermoet_right vertical line &lid the horizontal line marking the
genitals, to shov the outer edge ot the right arm, which is extended
downwards. The intersection of the first left vertical line and the
horizontal line marking the throat is connected vith the intersection
of the outermost left vertical line and the horizontal li;'le mark in('; tLe
for~head, to show the inner edge of the lett upper arm. The.intersection
of the central vertical line and the horizontal line marking the navel
is connected with the intersection of the second right vertical line nnd
the horizontal line marking the throat, to mark out the right i!lide a .,d
nmpit. This intersection of the central vertical line and the hori:~ontal line marking the navel is further connected with the interse.ction
of the :.~econd lef't vertical line and the horizontal line markin.; the
ce~tre of the chest, to mark the inner edge of the uprai~cd left t"lic.h:

- -- ..-..=-~--=====~"!"!

2-!9

the outer edge is marked by connecting. the intersectio~ of the first

vertical line and the horizontal line marking the genitals with the
intersection of the outermout left vertical line and the horizontal
line. marking the centre of the chest. The intersection of the first
right vertical line and the horizontal line marking the genitals is
connected with the intersection of the second right vertical line and
the horizontal line marking the upper edge of the right knee, to mark
the inner edge of the right thigh: while the intersection of the third
right vertical line and the horizontal line marking the lower edg~ of
the right knee is connected with the intersection of the central vertical'
line and the horizontal line marking the 8.Ilkle, to show the outer edge
of the right calf. The intersection of the outermost right vertical
line and the horizontal line marking the forehead is connected with
the intersection of the outermost left vertical line and t~ forehead
line, to demonstrate the measure of the staff. The curved posture
ot this figure shortens the vertical measure of the upper a~d 'lower
b~~ by two large units and four small units. The width measurements
are as given previously, and the ornaments and implements as given in
the appropriate texts.
1. this line may also be considered the central vertical line.
2. the lensth measures six large and eight small units.
3. some artists draw as shown here, but this is an error.
4. the left foot is drawn as shewn b.ere, pointed towards th~,
ear.

250

@
8

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256

The

l~out of diagram

is still a part of section

v: the

white form of Khecari according to the sbangpa B,Jatem (~a.lugs.mkha.

swod.dkar.mo). The central Tertical line is drawn, then the topmost horizontal line marking the jewel-tip of the topknot: below this, at two
small units, a line markinc the base of the j8Yel-Up; at six 11111&11
1mite, the base of the topknot, at three aall 1mits, the ~rline;
at tvelTe small unite, the chin of the faceJ at three 111111111' units, the
throat J at eight Dall units, the oentre Of the chest; at tvelTe small
units, the naTal; at eight 11111811 1mite, the tope of the buttocks; at
eight small units, the genitals; at six small unite, the mooD-disc
seat; at four aall unite, ~he stamens; at four amall uni ta, the base
of the lotua-aeat; and at t-irenty small unite, the lover tip of the
tetrahedron ( cho s. byun). To the right of the 08!1tral vertical line,
Terlical lines are drawn: at eight small units to mark the centre of.
the chest 1 at ten small uni ta to mark the middle of the right foot,
sole pointing fonard; and at twelve amall uni.ts to mark the right
elbow. To the lett of the central vertical line, vertical linea are
dravna at twelve small unite to mark the heel of the left foot pointina
towards t~e ear, the mid-upper arm, and the mid-thigh; at ten small
units to mark the lett knee ; and at eight lllial.l units to mark the lett
wrist.
_Next, the intersection of the central vertical line and the horizontal line marking the forehead is connected vith tb., intersection .
of the first right vertical line and the horizontal line marking the
centre of the chest, and the latter point is connected vith the intersection of the central vertical line and the horizontal line marking
the genitalsr this shows the angle of the upper and lover tor&O. The
intersection of the central vertical. line and the horimntal line
marking the stamens is oouecte4 vith the pointe where tb'e outermost
right and left vertical linea =tersect the horizontal line marking
the centre of the cheat this gives the outer edges of _the thighs
of the upraised legs. The pointe three large 1mits to the right and
left of the cent:ral vertical line along the horisontal line marking
the genitals are connected vith the intersection of. the central vertical
line and the lowermost horizontal linea from this one can see the size
of the tetrahedron. The other proportions not explicitly set out here
can be measured according to the standard lSJOUt for the nine-unit
model.

257

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264

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3ecticn VI : The Proportions for wrathful Forms on the model of

the Lord of Death (Skt. Yama; Tib. gSin.rje.khros.pa)
The face is twelve Blllall units long, the throat four Blllall uni ts 1
then twelve small units to the centre of' the chest; twelve small units
to the navel; twelve to the genitals. The thighs are eighteen small
units long, the knees four small units, the. calves eighteen small units,
and the feet are four small units in height. The total height of the
figure is give~ as ninety-six small unitsa adding to this fo~ small
units fmm hairline to crown actually makes for one hundred small units,
but the manuals give eight large units (i.e., ninety-six small units)
as the model.
The face is tvelve small units vide; the mouth is gapine, vi th
two small units between the upper and lower teeth; the lips are onehalf a small unit thick; and the teeth are a uniform one-half a small
unit in length, vi th the canines one small unit long. There is a sllllill
distance of six and one-half small units between the dimples ( zhal.khug).
The whiskers (Blll&.ra) are two small units across the top (at the roots),
and liang three and one-half small units long. The chin (so.gdan) is
one small unit long, and two small units vide. The eyes are three
small units vide, th1UIIb-shaped ( mthe. bott gi. dbyibs. can). The ears are
the same width (i.e., two small units). The eyebrows (smin.ma) are
two small units vide and four small units long. The cheekbones (mkhur.
sgo!l) are two small units vide. The top of' the skull (from hairline
to crown) and the skull-crown are both four small units in height:
at the top of the dry skulls of the crown are jewel-tips two small units
in heignt. In the mdddle of the hair of the head is the form of the
"lord of the familY" (rigs.bdag, i.e. the buddha of the particular
family vi th which the figure is associated) , four small units high.
The tips of the hairs are two small units above this .
The throat is ten small units wide; the rounded breasts four
small units in diameter; and the arms about eight small units and
three grains thick at the shoulder, six small units thick above the
elbow, seven small units thick at the thickest part of the forearm,
and four small units thick at the wrist. The length aiid width of the
hands are as given previously lSection I), though thicker. '!'here is
one large unit from t.11e centre of ta.e che&'t to the armpit. The to:rao
is eighteen small units vide at the narrowing of the waist, twenty
small units across at the navel, and the navel 'dimples (lte.khun)
are one small unit in size. The shaft of the erect penis is four

265

SID&ll units long, the glans two Slll&ll units long, and the scrotlllil three
SID&ll units long and ai% small units vide. The thighs are fifteen small
unit's thick at the base in the groin, ten small units thick at the knee;
the mi~calves are eight small units and three base uni ta thick; the
ankles, five and one-halt small units. The teet are fourteen small units
from heel to large toe; and the distance between the heels of the bent
one-hal~

and ntended leg.a is three or three and

large units, whichever

is appropriate.
Vrathful-Yama forms are said to e::thibit nine moods (gar.gyi.
'Dams.dgu). Of these, three are peysical attributess playfulness due to
a passionate mood; courageousness due to a mood of wrath; and ugliness
due to a mood. of

st~pidity.

The three verbal and three mental attributes

cannot, of course, be drawn. Moreover, in accordance with their

description as being terrible. ferocious, and awesome in appearance,
the mouth is gaping vi th fangs bared 1 the hair streams upwards; the
eyes stare; the tongue lolls; the whiskers and eyebrows blaze upwards
like flames; the expression is scowling 1 the legs are spread in a
straddling posture { 1 dor.stabs) Yith one leg extended straight, the
other bent slight]3'; the hands point threateningly; and so forth.
The method of laying out the lines for a figure with such a
posture is shown in diagram

First the central vertical line

. is drawn, then the following horizontal lines in ascending order:

the lowermost, marking the base of the lotue-seat; above this, at twelve
small units, the top edge of the lotus; at four small units, the sundisc seat; at eight small units, the corpse-seat; at six small units,
the ankles; at twelve small units, the upper edge of the knees; at fc.
small units, the genitals; at twelve small units, the navel; at six
small units, the narrowing ot the waist; at twelve small units, the
upper chest; at six small units, the base of' the throat;

at

four small

units, the chin; at twelve small units, the forehead; at tour small
units, the crown of the head; and at eight small units, the tips of
hairs of the head. To the right ot the central vertical line, four
vertical lines are drawn at twelve, six, six, and twelve small units:

to the lett, four vertJ.cal lines at six, six, twelve, and twelve small
units.
Nut, a point four small units to the left of' the central vertical
line along the horizontal line marking the tips of the hairs (the top..
most line) is connected with a point six small units to the right of

266

the central vertical line along the hori20ntal line marking the centre
of the chest, to show the angle of the upper torso: the latter point
is connected vi th the intersection of the cent::-al vertical line and the
horizontal line marking the genitals, to show the angle of the lower
torso. The intersection of the first right vertical line and the hori-
zontal line marking the chin is connected with the intersection of the
outermost ~ight vertical line and the horizontal line marking the forehead, giving the upper edge of the upraised right arm: while 'the intersection of the first leftvertical line and the horizontal line marking
the base of the throat is connected with the intersection of the outermost left vertical line and the horizontal line marking the waist,
giving the upper edge of the downward-pointing lett arm. The intersection of the first right vertical line and the horizontal line marking
the waist is connected with the intersection of the third right vertical
line and the horizontal line marking the genitals, showing the outer
edge of the right thigh; nod the intersection of the third right vertical
line and the horizontal line marking the upper edge of the knee is
connected with the intersection of the second right vertical line and the
horizontal line marking the ankle, shoving the outer edge of the calf
of the indrawn right leg: while the intersection of the second lett
vertic-al line and '!-he horizontal line marking the waist is connected
with the intersection of the outermost left vertical line and the horizontal line marking the soles of the feet, shoving the outer edee of
the extended left leg; and the inner edge is sho~ by connecting the
intersection of the central vertical line and the horizontal line
marking the genitals with the intersection of the third left vertical
. line and the hori.zontal line marking the ankle. connecting the intersection of the central vertical lir.e and the horizontal line marking
the ankle with the intersection of the third right vertical line and
the horizontal line marking the chin, one can 'see the curve of the belly
and side.
In some manuals, the calves are drawn with an actual vertical
measure of eighteen s=all units, while the thighs are eighteen small
units !!Long the length with the po:Jture shortening the actual vertical
measure; but this results in the calves being incorrectly long: it is
important to understand that while the calves and thighs are both
eighteen small units long vertically when the figure is standing erect,
to draw them so Y.hen the legs are bent out to the sides will result in
exceeding the correct measure. So in this case, it is most appropriate

267

considerinc the correct proportions, to draw the calves with our small
units, and the thighs with fourteen small units, subtracted rom the
vertical height.
1. the angle is four small units to tbe left.
2. the length is fourteen small unitR,
). twelve small units,
4. eightee~ small units,
5. eighteen small units, and
6. fourteen small units.
7. the width is eight small units and one base unit,
e. fifteen small units, and
~. eighteen small units.
10. the distance from the central vertical line to the armpit
is twelve small units.
II. the width is eight small units and three grains,
12. six small units,
1:5. seven small units, and
I4. four small units.
15. the length is eight sznall units.

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The layout for a aasculine wrathful divinit,a face is shown in

diaSl'all

1. tho width is aix base uni ta.

2. the length is tour small uni ta.
3. the surrounding band is one base unit wicle.
4. the upward oblique measure is three base units.
5. the measure is one base unit and one grain.
6. there is a space of two and one-half small units, and a
length of three small units.

7. three small units in size.

a.

the width is tvo small uni ta.

9. the length is four small uni ta.

IOo the height is one small unit.

II. the width is one-half of a small unit.

I2. the space is two small units.
I3. the height is one-halt of a small unit.
14. three small 1mi ts at the base, tvo lllll&ll units in the
middle, and on& and one-half small units at the tip.
15. tha height is one small unit.
This di&Sl'BII of the masculine wrathful divinity s face belongs to
the discussion of proportions for wratht11l forms follovi:::J.g the model of
Ye.:a (gsin.rje.ltar.khroe.pa)l then are various ways of laying out the
linea, and different methods of explaining the process. Although no
one defi:lite diagre.'ll and explanation can be given, in general this
example can b9 taken aP authoritative. The learned masters of Tibet
held that the mouth and eyes are more

trl.de~y

opened in the 'wrathful

yeksa (gNod.sbyin.khros.pa) model (see section VII) than in

mo~l,

the Yama

and that tlle mouth and eyes of the wrath1'ul demonic' (Srin.po.

khros. pa) model are still more widely opened; and that as each of these
three models has their respective facial measurements and bodily measurements, the faces are drawn increasingly wrathful. It should also be
noted that however widely the mouth is opened, that much height must be
subtracted from the measure of the throat.

273

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275

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276

In this sixth section, diagram

Cli)

ahovs the layout for the

form of Vajrabhairiva (rDo.rje.'jigs.byed). 7irst the central vertical

line is dravn, then the following horizontal lines in ascending order: the
lowermost l:lal'king the base of the lotua-aeat J above this, at twelve
small units, the top edge of the lotua-seatr at two small units, the
sun-disc seat; at eight small units, the' figure of.the bull trampled
underfoot; at four small units, the soles of the feetJ at'four small
units, the tops of the feet; at twelve small units, the lover edge of
the kneeSJ at four small units, the upper edge of the ~ees; at tvo
small units, the genitals; at twelve small units~ tho navel; at twelve
small units, the centre o~ the cheat; at six small units, the armpits;
at six small units, the base of the throat; at four small units, the
chin; at twelve small units, the forehead of the central buffalo facer
at six small units, the height of the skulloocrown; at eight small units,
the deaon-faceJ at four small units, the distance from forebead to crown
of the il3mon-bce; a-k six UI&U. uai te, the faoe of Man,:luui; at tvo
small units, the distance from forehead to erovn1 and at four small units,
the topknot with the jewel-tip. To the right of the cent:~.al verti~l
line, three vertical lines are drawn at twelve, six, and six small units:
to the left, three vertical lines at si%, six, and twelve small units.
Ne:t, a point six amall unite to the right of the central vertical
line along the horizontal line marking the centre of the chest is
connected with the intersection of the central vertical line and the
horizontal line muking the forehead, to show the measure of the anile
of the upper torso: the lower tip of this oblique line (i.e., this
former point at the level of the centre of the ccest) is connected
with the intersection of the central vertical line and the horizontal
line marking the geni tala, to show the angle of the lover torso.
The intersection ~f the central vertical line and the horizontal line
marking the genitals is further connected with the intersection or the
outermost left vertical line and the horizoatal line marking the apper
edge of the knees, giving the inner edge of the extended left leg;
the intersection of the fi:st left vertical line and the horizontal
line marking the centre of the chest is connected with a point six small
units out from the outermost left vertical line along the horizon~al
line marking the top of the feet, giving the outer edge of this extended
left leg. The outer edge of the right thigh is marked by connecting
the intersection of the first right vertical line and the horizontal
line marking tho navel with the intersection of the outermost ri&ht

277

vertical line and the horizontal line me.D:ing the upper edge of the
knees; while the inner edge is marked by connecting the intersection
ot the first ':ript vertical line and the horizontal line marking the
lover edge of the knee with the intersection of the central vertical
line and the horizontal line marking the genitals. 'l'o the right and
left of the central buffalo head, the flanking faces each mea8U1'e
four aal1 'IIIli te in width, and each of the aeconc!a.z)o tlazlkinc faces
two 811&11 'IIJlib in width. 10r thll eh'clB of arms, a point four small
'IIJlits above the horizontal line marking the centre of the chest along
the Mconcl :right vertical line is taken as centre to inscribe s.n aro
of radius .Uteen amall 'IIDits to mark the upper arms (at the olbov).
a further fourteen amall 'llllite to mark the forearms (at the wrista),
aDd a fUrther eight small 'IIDita to mark the hands of the right arms.
!hen similar area are inscribed to the lett side, using as oantre a
point two amall units above the horizontal line marking the cent:re o!
the chest along the first lett vertical line, thus giving the mcascres

tor the left arzs. The l81out for the buffalo head is not clearl1 set
out, being something one laUDs pereonal]J' from one's teachera the
other faces are in accordance with the general model for wrathful faces.
Since the ornaments, armbolic implements, and so forth differ slightly
from C?ne s'idhana to another, one must follow the demands of the psrticular situation.
As for the procressive shortening of the upper arms towards the
front. it is ezplained that the rear arms are hidden, so one must
ezamine the fact that even though the forearms should become progressively shorter, they in fact do not.

27


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Section VII

The Proportions for Wrathful Yak!! (gNod.sbyin.khros.pa)

The proportions for this form are shown in diagram

.
CD

First the. central vertical line is drawn, then the following horizontal
lines in ascending order: the lowermost marking the base of the lotue-
seat; above this, at twelve small units, the top of the lotus-seat; at
tour small units, the sun-disc seat; at four small units, the corpseseat; at four small units, the top of the feet; at twelve small units,
the calves; at four small units, the genitals; at fourteen small units,
the navel; at si% small units, the centre of the chest: at twelve small
units, the base of the throat; at tour small units, the chin; at twelve
small units, the forehead of the face; at four small units, the crown
of the head; and at twelve small units, the tips of the hairs of the
head. To the right of the central vertical line,tour vertical linea are
drawn at twelve, siX, eight, and ten saall ~ta: to the left, four
vertical lines at twelve, twelve, su, and au small units.
Ne:z:t, a point si% small units to the left of the central vertical
line along the horizontal line marking the tips of the hairs (the topoo
most line) is connected vith a point ten small units to the right of the
central vertical line along the horizontal line marking the centre of
the chest, marking the angle of the upper torso: the latter point is
connected vith the intersection of the central vertical line and the
horizontal line marking the genitals, marking the angle of the lower
torso. The intersection ot the central vertical line and the horizontal line marking the genitals is connected with the intersection of
the outermost left vertical line and the horizontal line marking the
soles of the feet, to give the inner edge of the extended left leg;
connecting the intersection of the outermost left vertical line and the
horizontal line marking the top of the feet with the intersection of
the first left vertical line and the horizontal line marking the navel
gives the outer edge. The intersection of the first right vertical line'
and the horizontal line marking the ceDtre of the chest is connected
with the intersection of the third right vertical line and the horizontal line marAing the genitals, to show the outer edge of the thigh
of the bent right leg: while the intersection of the second right
vertical line and the horizontal line marking the top of the feet is
co~nected with the latter point, to show the outer edge of the right

283

calf, the intersection of the central vertical line and the horizontal
line mazking the base of the throat is connected with the intersection
ot the outermost right vertical line and the horizontal line marking
the crown of the head, to give the upper edge of the upraised right
arm: and the intersection of the first left vertical line and the
horizontal line marking the throat is connected with the intersection
ot the third left vertical line and the horizontal line marking the
centre of the chest, to give the outer edge of the upper left arm.
The layout for the face is as explained above (Section VI). This
model is said to have thick limbs, a large bellY, a short neck, and
tat cheeks.
1. the angle is six small units to the lef't.
2. one also sees this line extended to the_ intersection of
the central vertical line and the horizomtal line marking the base ot

the throat.
3. the height is ton 8111all units.

284

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Still in Section VII, a variation of proportions for the vrathtul

yaksa .::odel is the layout for the figure rith t!le lower
blade of a dagger ( phur. 6am), sb.ovn in diagram

bo~

Q) .

sh!lped like the

First the oentral

vertical line is draw, then the following horizontal lines in clescendinc

ordexc the top:nost line marking the tips of the hairs of the head; below
this, at twelve small unite, the :roots of the hairs; at four small units, the
hairline; .at twelve small units, the chin; at four small units, the base of
the throat; at twelve small units, the oentre of the cheat; at eight small
units, the navel; at four small units, the base of the blade (dbal.rtse); at
twelve small units, the tip of the crocodile a fang; then, at thirty-tvo
SC1.8ll units, the tip of the blade of the dagpr (dbal.sne). To the right of
the central vertical line, two vertical lines are dravn, at twelve and sixteen small units: to the left, two vertical linea, at suteen and twelve
small units.
Next, apoint four amall units to-the left of the central vertical
line along the top.::ost horizontal line is connected with a point six small
units to the

righ~

of the central vertical line along the horizontal line

marking the centre of the chest, to sh.ov the angle of the upper torso: the
lover end of' this oblique line is connected rith a point four small units to
the left of the central vertical line along the horizontal line marking the
tip of the blade (the lowermost line), to show the angle of the lover torso
and the front edge of the dagg3r blade. The lover tip of the former line
(the point along the horizontal line marking the centre of the chest) is
connected with two points, at the intersections of' the outermost right vertical line and the first left vertical line and the horizontal line marking
the centre of the chest: this shows the right and left edges of the blade.
These tvo letter-points are connected with the intersection of the oblique
line marking the front edge of the blade and the horizontal line marking the
fang-tip: this shows the e:J:Rct line of the upper edges of the blade. 'l'he
crocodile's face for::li~~~g the lower torso, with horns and fangs and so fcrth,
is not clearly set out in the manuals; one must have personal instruction
.from someone within the tradition. The fact that this form is twenty small
units longer than the wrathful yak!}& model is due to the blade of the dagger
involving no compensatory reduction in height due to the angle, but strictly
speaking the proportions are actually those of the wrathful
The ornaments,

s,y~bolic

yek~a

model.

implements, the figures trampled underfoot and

so forth, vary according to the particular

sadhL~a

or revealed teaching

(e;ter.kha)c the drawing must accord with the particular cirsumatances.

1. four scall \tnits to the left.
2. one also sees the dngeers width enlarced by extending out

291

a further four 11111all units here.

l. the measure of the supine "king-demon" (::.-Qsl.po).

4. the measure of the stamens at the mouth of the

1o~s.

5. one sometimes sees two smal1 u:ni ts subtracted inverde here.

6. four small units below the above point is &130 explained as
where the tip of the blade pokes through the
underfoot.

292

~eart

of the demon trampled

CD

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.A particular variation in this seventh section is the kneeling

posture shown in the la:yout for Acala (Mi.Qo.ba) in .diqram

First the central vertical line is drawn, then the following horizontal
lines in descending ordera the topmost line marking the tips of the hairs
of the head; below this, at twelve small units, the roots of the hairs:
at four small units, the forehead or hairline: at twelve small upits, the
chin; at four small units, the throat; at eight small units, the centre
of the chest; at twelve small units, the navel; at four small units, _the
upper edge of the right knee; at four small units, the lower edge; at
eight small units, the genitals; at eight small units, the lower edge of
the left knee kneeling on the seat. To the right of the central vertical
line, three vertical lines are drawn, at ten, twelve, and four small
units: ~o the left of the central line, three vertical lines are drawn,
at six, "four, and eight small units.
Next, draw a line marking the angle of the upper torso from the
intersection of the first right vertical line and the horizontal line
the centre of the chest through the intersection of the central vertical
line and the horizontal line marking the forehead. The intersection of
the lover end of this oblique line (at the level of the centre of the
chest) is connected with the intersection of the central vertical line
and the horizontal line marking the genitals, to show the angle of the
lover torso. The intersection at the level of the centre of the chest
is further connected with the intersection of the outermost right vertical li.zie and the horizontal line marking the upper edge of the right
knee, to show roughlj' the measure of the knee. The latter point is
then connected With the intersection of the central vertical line and
the horizontal line marking the lover edge of the left knee, shoving
the line ar the shin of the bent of the right leg. The latter point
is in tum connected with the intersection of the first left vertical
line and the horizontal line marking the navel, to show the front edge
of the thigh of the kneeling lett leg. The intersection at the level of
the centre of the chest is further connected with the intersection of
the outermost left vertical line and the horizontal line marking the
upper edge of the right knee, to show the ed4ie of the hip. This latter
point is then connected with the intersection of the second left vertical line and the horizontal line marking the lover edge of the knee, to
give the outer edge of the left thigh. The intersection of the first

299

right vertical line and the horizontal line marking the chin is connected
with the intersection of the third right vertical line and the horizontal
line marking the hairlines this gives the upper edge of the upraised
right arm. The intersection of the central vertical line and the horizontal line mazking the chin is connected with the intersection of the outermost left vertical line end the horizontal line marking the centre of the
chest, shoving the outer edBe of the upper left arm. There is a difference
of one additional unit between this model and that of the proportions
for the vrathf'ul :Yskf& model.
1. the six small-unit measure of the figure trampled underfoot.
2. the. tvo small-unit sun-disc seat.
3. the one large-unit lotua-seat.

300

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Also in this section is the layout for the form of Rahula (gza.
mchog. chen.po) shown in diagra:n

CD .

First the central vertical

line is drawn, then the following horizontal lines in ascending order~

the lowest line marking the lover edge of the lake o~ blood: above this,
at twelve small units, the surface of the lake; at fifteen ~ll units,
the base of the coiled snake tail; at three small units, the face or
mouth in the bel~; at twelve small units, the narrowing of the waist;
at twelve small units,the base of the throat; at three nall lplits, the
chin; at twelve small units, the hairline of the central face; at three
small units, the crown ot the head; at eight small units, the hairline
of the middle face; at three small units, the crown of this middle
~ace; at siz s:nall units, the hairline of' the upper facs; at tlro snall
units, the crown of this upper face; and at four e:nall units, the
crovs head. To the right of the central vertical line, three vertical
fines are drawn, at eight, twelve, and twelve small units: to the left,
three vertical lines, at siz, twelve, and eight small units.
Next, the intersection of the-central vertical line lllld the horj,..
zontal line marking the forehead is coll!lected vi th the inte:!"section of the
first right vertical line and the horizontal line mark~g t~e waist, and
this point is in turn connected ~th the intersection of the centrcl
vertical line and the horizontal line marking the base of the tail: these
lines show the angle of the upper and lover torso. The L~tersection of the
first right vertical line and the horizontal line marking the chin is
connected with the intersection of the outermost right vertical line ann
the horizontal line marking the forehead: this gives the measU:!"e of the
upraised right arm. The intersection of the first left vertical line and
the horizontal line marking the chin is connected with the intersection
of the outermost left vertical line and the ~izontal line marking the
waist: this gives the measure~f the extended left a_~. Though the
distance from the centre of the chest to the armpit is one large unit,
and the upper arm is either sixteen or eighteen s~all units from shoulder
to elbow, this form is sai.d to follow the proportions of the wrathful
yaksa model. Since the length of' the snake tail is not specified, the
custom is simply to draw whatever length looks best. As for the mouth in
the belly, it caa be t'l.rawn vi th or vi thout a tongue s!louinG: sitile.rly,
there are various methods of drawing this mouth with a nose above, or
without. Since these points ere not clearly specified L~ tr.e liturcies,
one must look to authentic texts with detailed descriptions. Alco, if

308

thia figure ia draw according to the system of the creat tert&n Tong~
(Tons. dgei~i. gyur.rdo.rje), it haa thirteen :f'acea1 above the upper face
ia a fUrther face four amall units in height, with an additional one and
one-half small units from hairline to crow, above which ia the crow a
head three small uni ta high. The fianking faces to the right and the left
are measured to a width one-third that of their respective central faces.
Other than a reference to 1 111Ultiple 87es 1 covering the bo~, no specific
number of v,yee is mentioned.

309

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still in this seventh eoction are the proportiono o! mountod !ormo

(~pa.can), ae illustrated by the layout tor Sridovi (dPal.ldan.lha.mo)

ill diagram

@.

Firat the central Tertical line ill dra'll!l., then the

following horizontal linea in descending order: the topmost line. marking

the tips of the hairs of the head; 'below this, at six scall units, the
top of the bound hair; at aiz small units, the forehead; at belva small
units, the throat; at tour emall unite, the anpit and the counts forohead; at eight small unite, the narrowing of the waist and the munta
eJebrovs; at four small unite, the naTel and the mounta face; at siz
Small units, the top edge ot the knees and the lliOunta hip end noee; at
four 11111&11 unite, the genitals, the lower edge of the knees, and the
mount s jaw and ahoulderblade; at twelTe a.all units, the 8Jlkle, and the
centre of the 1110unt s

bo~;

at Biz 8111&1.1 units, the mount a belly; at

four 11111&11 unite, the fetlocll::a ot the mcnmt; at twelve small"units, the
tops of the hooves; cd at Biz 8111&1.1 units, the tips ot the booTes. To
the right of the central vertical line, vertical lines arQ dra-:n:.: at
twelve 11111&11 unite to lll41'k the right breast and the crupper of the saddle
formed of a demon's upper jaw; at four small units to l:l8rlc the armpit;
at tvelTe small units to mark the middle of the mount a throat and the
tips of the front booTee; at Biz 8111&11 unite to mark the outer edge of
the right arm and the middle of the 1110unt a face; and at aiz small upi ts
to mark the edge of the mount a IIIUszl.e. To the lett of the central line,
vertical linea are dram:at aix 811811 1mita to DUU'k tbe edge of the forehead, the shoulder, cd the base of the left thigh; at tvelve small units
to mark the elbow and the withers; at Biz small units, the wrist and the
edge of the knee; at twelve small units, the mid-haunch of the I!!Ount;
and at siz small units, the outer edge of the mount a haunches.
Hezt, the intersection of the first left Tertical line and the horiIOntal line m&rXin& the forehead is connected with a point ten small units
to the right of the central ver~ical line along the horizontal line 28Xking the vais~, and then this latter point is further connected with the
intersection of the central vertical line anll the horizontal line marking
the genitals: these linea mark the angle of the upper and lover torso.
The intersection o:t the second right vertical line and the horizontal
line marking the throat is connectell with the intersection of the outermoat right vertical line cd the horizontal line marking the hair: this
above the measure of the upraised right arm. The intersection of the

Sl4

first left vertical line and the horizontal line marking the throat is
connect~d

with the intersection of the third left vertical line and the

horizontal line marking the navel to give the line lli&%Xing the upper e~e
of the pointing left ~: the intersection of the central vertical line
and the horizontal line Ja.arking the armpit is connected with the intel'section of the second left vertical line and the horizontal line marking
the navel to give the lover

e~e. The~intersection

of the first left

vertical line and the horizontal line marking the navel is connected rlth
the intersection of the third lett vertical line and the horizontal line
marking the top edge of the knees, giving the upper ed8e of the left
thigh. The intersection of the third lett vertical line and the horizontal line marking the genitals is connected rlth the intersection of
the first left vertical line and the horizontal line marking the ankle,
giving the line marking 'the outer edge of the shin of the lett leg. The
intersection of the first right vertical line and the horizontal line
Ja.arking the fetlocks is connected vitl1 the intersection ot the second
left vertical line and the horillOntal line marking the Yi there, to show
the lower edge of the withers. ~he intersection of the first right
vertical line and the horil50ntal line ma:rlcing the mount s belly is
connected

~ith

the intersection of the right vertical line marking the

mount s throat and the horil50ntal line ma:rlcing the tips of the hooves:
this shove the measure of the extended left front leg of the mount.
The intersection of the
line

nar~ing

oute~st

the ankle is

right vertical line and the horizontal

co~~ected

with the intersection of the fourth

right vertical line and the horizontal line carking the joint at the top
of the hooves: this shows roughly the measure of the indrawn right front
leg of the mount.-As the remaining proportions for the mount are not
clearly delineated, one must draw based upon one' a own judgement. The.
o=ents and sy:::bolic implements must be drawn in accordance with the
canonical descriptions, since there are many variations.

L_

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Section VIII

The Proportions tor wrathful Demons (Srin.po.ltar.khros.pa)

~s

The la;yout for this form is given in diagram

@.

First the

central vertical line is drawn, then the following horizontal lines in

ascending ordera the lowest line marking the base of the lotus; above this;
at twelve small units, the top edge of the lotus-seat; at six small units,
the corpse trodden underfoot; at six small units, the ankles; at s~
small units, the genitals; at eight small units, the'lover abdomen; at
eight small units, the narrowing of the waist; at four scall units, the
oentre of the chest; at twelve small units, the throat; at twelve small
units, the forehead or hairline; and at twelve small units, the tips of
the hairs of the head, To the right of the central vertical line, four
vertical lines are drawn, at eight, eight, eight, and six saell units:
to the left, four vertical lines, at six,
six, twelve, and twelve small
units.
Next, the intersection of the first left vertical line and the horizontal line marking the tips of the hair (the topi!IOst line) is connected
with. the intersection
. of the first right vertical line and the horizontal
line marking the waist, to show the angle of the upper torso: the latter
point is fUrther connected with the intersection of the central vertical
line and the horizontal line marking the geni tala, to shov the engle of
the lower torso. The intersection of the central vertical line and the
horizontal line marking the throat is connected with a point slichtly
be~ow the intersection of the outermost right vertical line and the horizontal line marking the tips of the hair (the topmost line); this gives
the upper line of the upraised right arm, The intersection of the first
left vertical line and the horizontal line marking the t~~at is connected
with the intersection of the outermost left vertical line and the horizontal line marking the waist; this gives the upper line of the outstretched left arm. The intersection o.f.. the first left vertical line end
the horizontal line =arking the waist is connected with the intersection
of the third left vertical line and the horizontal line car..dne the ar.ll.:les,
to show the outer line of the outstretched left leg: the intersection of
the central vertical line and the horizontal line ~arking t~e eenite.ls
is connected with the intersection of the third left vertical line and the
horizontal line marking the corpse, to show the inner line of the left
leg. The intersection of the first right vertical line ru1d the horizontal
line marking the centre ot the chest is co~~ected with the intersection

320

of the third right vertical line and the horizontal line'marking the
lower abdomen, to give the outer edge of the right thigh: the latter
point is then connected with the intersection of the second right vertical
line and tha horizontal line marking the corpse, to give the outer ed8e
of the chin of the indrawn right calf. Although the vertical height is
said to be six small units short (due to the se~crouched posture) 0 the
model here is actually shortened by twelve. small units, though figures
vith more of a crouching posture involve even more shortening: since this
figure is said to be of very coarse, tense, and fierce mien, it should
be

SO dra"I."'lo

1. length of one large unit, and width of thirty-eight small

units.
2.
3.
4.
5.

length of
one large
length of
length of

one large
unit from
one large
one large

unit, and
centre of
unit, and
unit, and

width
chest
width
width

of nine small units.

to armpit.
td seventeen small units.
of seven small units.

6. height of fourteen small units.

1. height of one larbe unit.

s.

the upper and lower edges of the sun-disc seat.

321

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~F===============================================9

Also in this section is the model f'or feminine wrathf'ul.-dee10n :forms,

shown in diagram

@.

First the central 't'ertical line is drawn, the:1

the followinb horizontal li~eo in descendin~ order: the topmost line, marking the fo.rehead; belov this, at twelve small units, the centre of the chest;
at six sl!lall units, the tops of the knees; at twelve small units, the genitals; at six Sl!lall units, the botton of the feet and the mount's shoulder
and hip; at twelve scall units, the mid-shoulder of the mount,. and its
mid-ha,unch; at t-welve small units, the paws of the mount; and at ei~ht
soall ~its, the claws. To the right .......
of the central vertical line, four
vertical lines are drawn, at four, six, eight, and ten small units: to the
left, four vertical lines, at eight, eight, six, and twelve small units
.Next, the intersection of the third left vertical line and the topmost l~ri~ontal line marking the forehead is connected with the intersection
of the first richt vertical line and the horizontal line marking the vaist,
and this latter point then connected with tile intersection of the central
vertical lina and the horizontal line marking the genitals: this shows the
angle of the upper &lld lower torso. The intersection of the central vertical line and the horizontal line marking the genitals is connected with the
intersection of the second left vertical line and the horizontal line
marking the centre of the chest, to show the measure or the uplifted left
knee. The intersection of the second right vertical line and the horizontal line marking the feet is connected with the intersection of the third
right vertical line and the horizontal line marking the waist, to give
tl!e inner line of the uplifted right knee.
This form is said to be extrecely and unbearably terible, with hair
nowing wildly and .freely, pointing threateninly and shoving the palJIIs in
violent gestures - possessing all of the attributes of feminine wrathful
divinities. As to the arcs delineating the heads of the mount: an arc of
radius sixteen small units is drawn from a point vhere the third right
vertical line intersects the horizontal line marking the divinitY's feet,
to mark the tips of the ears of the mount a heads; and an arc of radius
t-wenty-two small units drawn from a point four small units directly below
the former point JliiU"ks the tips of the noses. This clearly marks out the
!lleaSUl'e of the nine iron wolves heads, which are drawn progressively smaller with the t10re fol'lfard heads covering partially the more rearward ones.
1. arc of radius sixteen s~all units marking the eartips.
2. arc of radius t-wenty-two small units marlcinc the tips of' the noses.
3. there is also this method of drawing these nine iron valves heads.
4. the central vertical line is here.

325

(Q)

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326

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327

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I
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328

Also inclur,ecl in this section is the five large-unit dwarf' model

( mi' u. tr.w:), as shown in diagram
is drawn,

t~en

l'irst

t~1e

central vertical line

the following horizontal lines in ascending order: the

lowest line markinc tne bottom of tbe feet: above this, at four small
unite, the tops of tne feet; at twelve

s~:~all

.units, t11e genitalSJ at

twelve small units, tne centre of toe chest: at twelve small units, the
chin; at tvelve small units, the hairline or

forehead of the face; and

at throe small units, the crown of the head. To the right of the central
vertical line, four vertical lines are drawn, at

ei~ht,

twelve, six, and

eight small units: to the left, three vertical lines, at twelve, eight,
and eight s:r.all units.
Ilezt, a point measured si:x small units to tne left of the central
vertical line along the horizontal line oarking the centre of the chest
ia

co~~ected

with the intersection of the central vertical line and the

horizontal line ~:~arkin.:r the forehead; and below, with the intersection
of the central vertical line and the horizontal line marking the genitals:
frcm this one can see the angle of the upper and lower torso. The intex-sectio:l of the first right vertical line and the horizontal line marking
the

cc~trc

right

of the chest is

vertic~l

connect~d

with the

i~tersection

of the third

line and the horizontal line marking the top of the feet,

showing tile r.Jee.sure of the

exte::~ded

right leg. The intersection of the

first left Yertical line and the horizontal line marking the centre of
the cheat io connected lr""i th tne intersection of the second left vertical
line and the horizontal lir.e

~:~arl:ine

the genitals, to 5ive the outer

edge of tne thigh of_ tne bent left leg: the latter point is then connected
wi tll tile intersection of the first left vertical line and the horizontal
line marl:inc the bottom of the feet, to demomstrate the meaau!'e of the
calf of t!!e left lee. Thia form is cuaracterized as squat, being thick:
and abort, and the erect penis measures ten small units long.

329

1\1\l
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330

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331