Beruflich Dokumente
Kultur Dokumente
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
forevord, in order t hftt othere aay energetically etudy and thue carry on the
preface
Introduction
Dedication
COlophon
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6
PREFACE
• • • • • • • • •
A word on the 5ystem of datina u~ed in this book: there are numerous
different systems put forth by 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.
Geqa Lama.
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lO
Itfl'ROOUCTION
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 du•·to
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 baclc-
grounds 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.
Geqa L4ma
Dar~~eling
India.
Sept~ber, 1qe1.
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23
CliAPTER PAGE OONTENTS
418 Hats
436 ornaments
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88
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!
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
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
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. The king
and the lord of death were dumhfounded and awestruck. 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 ~uddhod3na erected a stopa in a style known as "heaped
lotuses". 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 Utrayana•s 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 In) water" (thub.pa.chu.len.ma).
Another story conc~s a time when the Blessed One was teachin9 in the
city of Kapllavaatu. 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 . On the road the maid was waylaid and Jcllled by a
coWherd 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!" This statue, Jcnown as "the Sandalwood Lord" (tsan.dan.jo.bo),
1a aup~ed 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
L~ter in his life, th~ Ole~~~ One him~elf qave pP.rmi~ston for images to
be made of his lik•mess, 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 ~~~etals and jewels, but VUvalcar~~~a
(the celf!st.ial artban) w11s unl!ble to determin~ 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 ye~trs of age. The Teacher himself blessed these
statues by b~th!ng them in his radiance. The statue of him at age twenty-five
was t~lcen to the gods' realm, tbat of him a~ age twelve to China, and that of
him .~tt <'ll;;e ei<Jht to r:enal. They reaain~ in those places for many years, after
which th~ htter two were brou(jht to Tihet (by the Chinese and Nepalese queens
of King ~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 divine artisan~ emanated as humans. In the
city of ~a'J5dha, there appear~ three brahmin brothers: the eldest, named
Gyalwa (rGyal.ba, 5lct • .Jina, "Vlct:or"), erected a temrl'! and an im.11ge fashion~!<!
of precious stones at Sarn'lth, near Varan~sl, whera the ~d~be first taught;
the middle brother, Lf!lc:gyal (Legs.r!JYal, Slc:t. Sadhujina, "t;xcellent Victor")
erected a temrlP. an~ ~~ tma<Je of the te~che~, m~de of earth from the eight
~re.11t holy plac~s of Duddhism, at t~e 83~too Grove (Venuvana) in Rajaqrha
(modern Ra1~1r in Bihar); and th~ ynun~eGt, th~ brahmin Gaywa (dGe.ba, Skt.
Kusala, "Virtue"), erP.ctro an lm·1<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
ye~rs 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
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~"! osnd posintin!J whic':h wert! reminiscent of thosfl! of earlier ''divine"
artists. 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) a~peared an artist
f~om the region of Marn, known ~s T~engd~in (Phren.'dzin, Skt. ?Maladhara),
who was inc~edibly skilled in.buddhist iconoQrAphic a~t. His style of p~inting
and sculpture, which resembled that of the ynk~a n~tists, became known as the
"west"!l"n ,.;tyl<!" or the "he.u-~ of the west".
nu~ing the rei~s of Kin~s Devapala and ~rldharmapala an artist f~om the
region of 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 exp~e,.;sion, the ~on establi,.;hin~ himself in
~engal: their followe~s C~"!ilted wo~ks of art thr-ou'Jhout India, hut the style
became known as that of the "god of the east" (i.e. the son in Bengal),
rega~dless of the artisan's origins. In paintin'J, the 1ather's school became
1clent1t1ed 111 the "•!ll!lt•J:'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
(gZhan.las.rgyal.ba, Skt. Paranjaya), and Nampa~ Gyal•cta (~Nam.p~.rgyal.ba,
Skt. V11~ya) -- developed styles of paintina and sculpture which were widely
imitated.
The influence of the western painting style (of Tr~ngdzin) was much felt
in Nepal, where the~e developed an actual Nepalese style of painting, and a
mixed Indo-Nepalese style.
Althouqh most latter-day castin1s resemble the easte~n ~tyle (of Dheman
and Vitsali), these eventually beca~ impossible to asSign to a ~iven school.
Nowadays, although one sees paintings in the Indo-N~ral~,.;e anrl Tibeto-
Nepalese styles, the true Ne~lese style se~ms ve~y rar~.
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.
and Menri (sMah.b~isl. The forme~ h~s its o~i7ins in th~ Chinese schools of
paint1n~, the latte~ in the Nepalese.
First came the Chinese influP.nces in the ~raphic arts. Son?tsen Garnpo
(S~on~.btsan.sgam.po), the religious kin~ of the Land of Snows durin~ the
early seventh century A.D., was an accomplished innovator in many fi~lds:
realizin9 the necessity of takinq the Chinese p~incess Kon3jo as his queen
in order to facilitate the introduction of Ruddhism into Tibet, he employ~
various means to arrange the union. Nhen she was escorted to Tibet, in advance
were brou~ht 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 oume~ous references to this in the dynastic reco~ds and the royal
biog~aphy 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 pari-
nirviQa, or in 1!45 A.D., the terton (gter.ston, a revealer of teachir.gs concealed
by Padmasambhava or one of his close disciples) Orgyen Lingpa (O.rgyan.gltn.pa)
revealed.aome texts l!..:plaining graphic design from their place of concealm~nt
a~d ima~es ~nrt so forth -- w~s cons\~mate. The artistic lineage fmtndPd by
this artist merqP.d with tbG tradi~ion of Na~~~ Tas,i, ~nd so became indistinguish-
able from the Gadri school and was nPvP.r a distinr.t tr~dition.
47
Still later, there appear~d an artizt skill~d 1n the Gadri ~~yl~,
technique which emerged from the genius of the omniscient Tsuklak ChOicyi
Nangwa (gTsug.lag.chos.lcyi.sna~.ba), and which was not in fact different
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 Ch~mdo, there
were many skilled statue-makers and painters called "KarshO" (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. Beslnning with this extensive training in
the arts, he spent ~~s entire life in ceaseless creative activity. The previous
Situ Rinpoche·\ Payma \~angchalc 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 an~ ca~ting develop~d i.n several phases. During
the rei~n of King ~ongtsen Gampo, the temple of Rasa Trulnan~ (Ra.~a.'phrul.
49
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54
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56
CHAPTER T'tiO
Th~ Qualities of Artist and Patron
• • • • • • •
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-rty-
stric: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 ljl8nerou.5 in furnishing the necess•ry
SUfplies for the worlc. 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.
60
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66
CH,r..PTE:R THREE:
The Characteristics Determining
the Qu~lity of Images
• • • • • • • • • • • • • • •
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. The thumbs and large toes are martced with the design of the endless
lcnot. '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. The throat is
tapered 11Jce a conchshell. The lips are cleanly defined, and red like a
billlba fruit. '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 un,~a, a fine '~~bite hair coiling
to the right (to form a dot}. 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 ~'ieh will appeal to anyone, which will interest any
68
viewer, and which is beautiful and aesthetic to behold.
The of creating such forms are set forth in th~
bP~cfits ~hikaru~a-
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
san~ha of fully--ordained monks in the four directions, I say that
it would be greater merit by far for them to fashion a stupa
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~,
70
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CIIAM'ER IV 1 THE PROPORTIONS FOR
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, nll-
11aluoa4 ~ 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•, "fakini-
clouda•, 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 lldju£I (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 the·trana-
miaaion. 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 ill-
matched parents, who C&DDOt be aaicl to "be of good family however h&Dd-
aome 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 ooa-
nection 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•.
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'U-
thesized 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 1 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 'srain'
(us), 80 that eigbt grains equal one 8111&11 UDit.
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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80
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81
Section I : the Proportions of the Sugata (Buddha),
the subli~ Iir.anakiya
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 •x••a 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,
howe•er 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
u~ipa, 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
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
bo~, 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
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 bo~,
ud claarl.7 abova 1D the diagraa,
84
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85
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@ ~,~"'\ff.Oil . qo~~
88
Diagram ® shows the proportion& of the :Buddha's bead. The
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 le•el 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 (ter•od
•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, ter•cl '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 s•ll 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. Si•ilarly, 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 2 ahova a Chinese style ori«inally 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_ _ _ _ j
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~~·~·~.f!;~~'l~·if~\ ~~·~~""~1(~£;~~~·~r~,'
~~·.c:~,,x:~·~~J.I!"'~·q~~-a~~\ l""~~~~,~~~~·q~~(\~~ 1
95
Diagram @ shows the proportions of the upper ed lower bod;?'.
The ~hroat 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 la:rse unit. JUst
above the navel on either aide is tbe narrowing of the waist, fifteen
small units across. The navel itself is one small unit in diameter. On a
level eight small units below the navel is tbe pelvis, 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.
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
~lea 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.
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 pnital•r; 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.
: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 peculiar-
ities 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 or1·or.
,106
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110
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1 ~E:.:&~r~~l~:?.fQ.r ~~·q·~~,~~~·cJ.l·;~lllq· llqt:_lf.l·i«~·~
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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.
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 outer-
moat 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 connect-
ed 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.
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114
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116
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118
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120
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£i' --k J!l J! -:t2/
J ?f.~--! _w& Ii~ J~~ J'~_,
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4 -~!!) ~
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6.....:::~~ _!i
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_jl• ~'
_.91
1
n/ _..ri
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dj,t :21 .£ 1i J11 ~I i' ~ .n.
:;:-o
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A j. 4.J:' :1! ...9i -~
Gi;jl ~
~ ::9:~ ~i
l!'f P. -li' ;i ~ ~)) ...!1 P./ 2:1 _!j .-:!t' ~f .
1J)} ~ :g}1
j' j ~) ~i ~ ~ _lJ l! ~i )fltJ
_}'
$) ~} J! ~
1tr 1'. ~j ~ <1~ ~., ~
~
_j' M.)
_ll .-:g) ~ ~ 6~L .:.91, J
3fJ! ~dJ · ~n -.9!-11 . ....13i &1 ...:.ll!
:dl _jt
~ ~
~
1~ ~ '1/ ~
~i -1! ~ l A:- j _g_, Ji~
J! Jl .B
_!f 3 .Jl n ~ ~). '11'
·:2· rJJ?
w 1
1! ~ i ~' cr ~ jl 61 D ~ =-a _.w.l j'
61.> ~ !r ~ li . .2i 1JI ! 'l! (tat J1 -l Ji< ~
_!P ~ Jt..?· ~ E.! ~ -1 ·jl . rl ~ _!! _1!1 -1V
,2 _! _! ---1; J! ...!J _}11 ~ .111 D .tn ~-
~ Q!j _21? _. _!I (j"2
• .rl
_Bf -- ~, ~/ :ti..?
~ ))) ~ Jr ~' 2 jj~ J! ~ .~ _j, 1f
-~ .fJ c?!! l! _l) ~/ ~ ·11 J!/ -Bi ~ GO! ~ @
___.Jl ~ ~.., ~i Jl..? j! ~ ..lJ ~ _9.i ~ .J _.,; :c
a]_/ -i b ~l j i ~ ~ j i lj
--'1 • _'Ol) .E _Jf li
J!l ~' J i
ill ~
J~ ~
~II .l! - ~ ~ • ~ . D. II
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
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 e•ciated or aa IDU&cular. one
alae finds forma cuning to the right aa well aa to the lett.
CD
123
®
I
1/ 4
I
I
12
\ \
I I\ 12 .
\ \ II \ 8
" \ /
/ 4
\ \\ I y ~
10
\~ v v
8
\ 10
8 6 12 8 12 8
6
124-
125
~·-'~f~clUiq"(aoCI"~~<>~"'~\~ t\.~·"'l~"'·"l7~®r.:~'\~·~.Q·z:.t•OJ1
\a{~~~·.Q~,~·.q~~·.Q~~·z:.ta-~03\ l\~.<Jl~CZQ!I~·~~~~~~r~l!:l,-
126
127
12 1,...
2
~ 1
/
2
6 6 4 2 8
129
4
l2J..
2
12 1
-
2
4 2 8
ISO
131
132
133
134
155
12 1
-2
12
-1
2
6 6 4 2 8
186
181'
138
~ ~~ l:fl? n ~ ·-cdl dj n Q.!!~ D ~ n ~ ~ 2! _1)1 --..!!
J!l
~ -1:
J~ ~.2 1? ~ ~, 11 ~/ 1~, -~ ~
nt!, ...li
-li ~ ~ ~
J.J ~ ~
2
jj ~aP1 ~ 1 j
~ ~ ~J ~I JJ 1! P.l
· n ,~./ ;l ~ .e ~ n :n .-T' 2 - · .-1:J v,.1 ,,
~{ ~J ~ m 41 rl ..-Ji/ ~ £ n _!W _B ~ ~'
Li ~l ]J -'! ai ~ ,g ~) 2 _B .. .rl J)_? ~ _, '
~ ;..._., 11: ~ ~'l 2.! (ill/ .... '\.:11 :E. .
a....:11~ -"'') ·, ~l
J1 -~ 1 ~1.-J:l/ £ ~ ~1 --'1 3P .D ~
~ )1 ~ __!! ' ~ ~ -l ___!) j) ~ _Jj __. ~ J~I ~~~ .
Al .2 ~, ~ ~ -11 ~' ----01 ..li ~ ~ ~ ::jl
-'i) l1 _AJ ~ Li< (0,) ~~ _y dj ~ }1) A 21 ~ :::?.9 =frn
~ ~J ~ ~) ~~ ~ ~ ~ ~ :zi ~ ~ -1 ~ -1 ~ _j
~.d ~ ~1 ~2! 1M11 ~ ~ ~
-~ ~ ~ .!JV - -1
*
~ .P) ~' ___:li _.1! _j
~/ .£ ~. ~~ ~91~ 'f
• ..=.1! .J.. ...ll)> .~ A -" @' .3 D ~ .a _.: _lj) - 1!
j) ~ (r'li ~ . ~ ~ <?.! j 1' di' J).' --::, 2! J!
1
~
.2 . .2) ~ }),)- ~ _ll ~ ~~ _. ~ @/-'11 ~ 211 )..~ ~
at }'! • @,JJC ~ ~ :! -J! .-J1 .1:1.? • JJ ~ IV
~ ~ _:..1!
J ~ ~
• -:l _9t _..J'!
~ & (!litlJ ~ ~~ ~ ..-l)4 ~ _!!J
J =--
J..:!4_;) w~ • _.11
~y
_!,{
J!~ ~ ~-ir~ 2i-Jt_gj ~ ~'1~.
• ~ __ftl ,. ...A ~ ~ .Jt :E. D .-91 @J -)':;< _.!7:4i 2 .
__J? ~ )1) __.: £{ ~ ~l ~ ~ ~ Jl) ~iV-1 ~, 2! J)
Jl! ~' ~ --9! I J1 ~I ..-l)4 ji( 2:! ~ _B ~ Jl~ ~ ~
er
~ '1\ ~I) ~9 ~-'
-P. _.! ~ B @JJ Oil n
it~ ~ <rn;)lj __. ~ _.!i ~ ~ ~
~ _lj? n.
~~
· n _J1
©
!_h_e Buddhas of the Five__Fam.!_l_ies
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
6
11.1
2
8
1
142
~ a.t~Pt'JZlC:...,~'~l ~~~~® q• ~~~-~~·
Q.~;q~·i-2~~ ,~~R·~c:~~l ~~~-ar~~~~~C1j~-,~~-~~
Q~'*~€.Jo\~cql ~~·€.::~-~,~q;q·~~-~~\"' ~,~-~~-~\ar~·
~~~cs'cs~·~\~~f\~1 ~~·if:lc::cC~~·S,·~~~~-;~·"l~~·B'~·q~f.l~
~·S,l~ . ~~~~-S,.~'\~\"1 ,~·~cs~~;c:.e,~~~·~:~;~:~l· :
~~-aic;.~tq~S,·'!~~- "lot!N'.a,-~.if~·l~ IIJ~~~€-e,.~l~·\~ ,~
~q~~~-~~-q~~,·Qi~r~~, 1
G) ~~CJ~·~,~'CI~~~arl'.o~~t\~,-~c: ~
~t:\M ~,~,~~~~~·~·~.Rf1~·~·~3.1~'4J~C:.~J
0 -,.J::l~~~~q~~,~~~~-c~·~i~·~· @CI·,~·~~~~~r:
q·~·,q·~~.€,~~+-,r~~t ¥~-~~-~·~~-~~
144
Still in Section 11, diagram ~ ahova the layout for f'isures 7
.
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 l»e 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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-
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2 I I I
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1\ _Lll I - j_
12 1
:1. - \
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12 1 I \
-2
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2
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8 l 4 6 6
146
( l
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r{ \H--
1
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v "'
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./
&~t:l~~o.t·q~~·qqQ~·;%.1~~ ~~·~·~~~~,
147
:11 3 1~ l ~ irii ~IJl--1; ~ ~j II
~l! j 2 ~ ~ J( D I nfi'l.-::J
dE ~ j " ~ 1.D ~ ~ @
1l111 (T":
j:J) • ..Ji fi!i 6t '\:,;!"' li ~ ~_/ ~~ ---lt ~
~ Ji 11 ~ ~ ~I ~ .-J1 / ~1 ~J )l
Bi -----®1 ~ _ll,? ~ -J1l _jJ --11 ruM J!i -1
1hi •
--1.Jii~ ~l ~ ~ ~ ~{ ...Jl ~I) ,.a B
.n I -- ~< ~ · ~ ll .-ll cJ' · It
~ ~~ 2! ·1 1! ,St ~ Jl J." E .IIIJ
~ ~ ~ ·j} :JSIll,? ~ ~I 2! 1! .JfJ .q ~
Jl!' J~1 ~ g ~ . --( !l l' _j -- ~
~ (f'.; _Ja4 1! '-=v .,~; 1 J1 I ji l.ll _jiJ
J~'
-J1 ~ 2 _lt a ~ ~ J. - ~ ~ ~ !:
~ % ~ ~~ !~ ~ Ji ~ ~ fi. )1 -
1
_jV ~ ~ ~1 ~ Jf. _2f, ..!J ~ ~i LD? ~ •
~ ~ Jl? i'l ~
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-)1 _,: _..... ..il) - 1Y
-1j ;,_~ ~,?· ~!l -"f :2JD ~.,
....)1 ~l~i II~ J1l - ~ ~ ~ ~ Ill;>~~
6n ~~~, 21 ,. _:.....,f_ D ~
~~ ,..,.....,
~ • J:1 .-1! 8t. -": :::...fo' ~l JiJ
~
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~ ~ fi. j! ~~
2:!' l:tJ> Ji ~I
~
_ll -
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z
~fl! Ji.' ~1 IB:r~ ~ ~ ~ _2 _!J
B -:&V
~J£ --1
lf-ti ......!'! - ~ @/ . n
~i~~
~ .ll 2:3 1i? .....91 ~ ",; }11 J11l "
.):1 \\A
---.::1 Po
~
.2• •~n - -B. 6.1} • . f11
-(1.1! ~ ~ -ft. . ~ Ji 1!i 2! ~ ~ .2/ •
::::i/ ....! ~)> ~ ll Li ~
-ij ....lf1 ~' __n ~
&i ....:Dl) d6! i Jl.? -1! ~' .2! .-Ji .ll
.ll _2j J-... lJ ..Jt'f - f! 611
~' ~~ dL'1 ~ ~I
J1) 2 JHI /~ 2;~
)1 h --'=1
.a
-1~ Jl.e. _:11~ ~ ---'!
~/ -~;> ~• 2! __. ~ Vf,1 ~
(Uj _!i ~ ~ .n 2 ~i ~ ..11 . :a :...9!
.2'1 ~ _j? ~ f~ .D 2! .e1 ~ ~-' ~ ~
- ~ . 7j I 60! ~ .--9! ""J1 .-1! ~ ~
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,y•a 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 in-
scribed 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,y•s right arms.
¥aces to the right and left of the central·face 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
@
...........
I
"'
4
"
\\~
........
(; / \
I
I I
........
"~
\ \ \ \ 4
\ i\ \
I I
\
~ 12
~~ \ I /~v J J ~
~~ / I 4
~
1--- v v\ 7 " 1'--- I'
~ / 8
\ I 4
-- .------\ r----__
-- 4
8 2 4
- -
121
2
121
2
4 2 8
150
151
5r========================================------=====================~
jf ~' tg
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1 11 ~; ~
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114.
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Jl _!1 J! Ji
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id' .e -t ~_31 it~ ~ ~ ...! Ji ~ -:rli ~ ~ --91 ~ -1 JJ ~ ~-' fo\
~ _:d ~ dA j -1 _j --1; J)? ~ J ~ ~ j . F.i ~ ~ 3t' J'J =!' ~
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~~·~~· ~~~ ~~·~ ~CI('~414' ~,~.~-~~"Qtlllt'af"~
~...~ . -r=~"'"'T~"\""J...~'r~i ,~....,(j
...
ca~a,·~~ R.\.,.~' .,~·if\(,"'~cq·~·iii~·~-r~t~i\lJ
Section III 1 The Proportions for the •vratbtul !acetic•
•iodel ( dran. eron.khros, pa)
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,y•e 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 heruka•a
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 an·l 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 inter-
section 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 inter-
section 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 for•a 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. There-
fore, 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 Bu44ha•e 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 un•t• 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.
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
re•ereiDs the l~o•t 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
D
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164
~, @ ;c;:~·,~3l~~iii~l
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niacralll ® h a pneral outliDe tor the shape or the faces
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 low•·r
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· lc·1't aqunrillh oae i.e vathful 1 :rat 'beautiful; aoothe:r e:~:planntion
167
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Section IV 1 The Proportions for the Bodhisattva Model
J:'irst the central vertical line is drawn, then the tol'•aost hori-
zontal ~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
arriv~d 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.
172.
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.Still iD Section IV, 41qraa ® pvea the lQout for the
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,
'· the aalllbbogU.qa fao.. , and
4. the aeoond I'OW of taoea.
5. the ll&iD. araa, ri th ..,... on each palm.
6. of the aeconda7-aMD.&1:10D banda, the twelve-baud aactor,
7. 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!4•u••·
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
accordin£ly ( 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, of fourten baee unite and one grain (three and fh ...
eighths small unite),
3. of twenty-one baH unite and one grain (five and tbree-
eightha small unite),
4. of thirty-two baae unite ( eigbt a~~&11 anita), and
5. of twelve small unite,
183
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186
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ae
section V 1 ~be Proportiome for tho Kine-unit lodel for
leainine Di~initieo {rGJal.Jua)
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 dra•nu 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'liD•I 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
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 or•h•r 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 (se•u.•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 n•i lin1:
ezpreaolon. 'l'be teet and bands are 4aeo:ribecl as supple and omooth, utterly
charllin~.
192
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12
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4
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12
12
l'l 4 4 6 lG 6 . 4
194
. - - - - - - - -....9""'.
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@ ~~l:l~~Tl
® .~-,j;i".s:(1
G) ~~~
19
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 lotus-
Hat 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 1•••1 of the suitala, at fov -11 aUaa the nellini ot the hip-
ku, 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 tvel•e aaall 11DUaa the oatre of the throat and the
lett aboulder, at twel•e ...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
198
of the kneee 1e ooaneotea with the tateraeatioa or the firat rlcbt
•ertical line and the horisoatal liae IIUitiac the 1•••1 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
le•el 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
liaa aarkiac the wai1t, •bowtar the outer •ace
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 o•tezwoet left Tertical line
and the hori ..atal line .azkiq the wa11t, to aark the outer edce of
till upper lett al'llo
The lqout fol' the r..e aa4 'ap,ifl' 11 a1 •nal.
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 at po1Dt ' '
aDd the tipa of tlw lotlaa at poilat 4.
199
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-- -- ·------ =-============- ··=====:;2~0.!7
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
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 eight-
arMd foru wch aa JikteDWIIIYO ( 'I'.O~er of the three worlds• , ~ fora ot
'l'lri) 1 teo-ar•4 foraa ncb as 'l'OD£cbu Rab.1•(another p.aceful feminine
41~ioUy) ; and t-l'f'e-arMd for•• INch as Sordraoe. The mambur of arma
.. --· -·iii•t
II
~~========================================~==============================================~
~
~ ru: .JJ HI') J ·"' .b 11 :l! 2!1.1
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_..11 J IB J _s
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214
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"~f" r,,~.,i;l~ 9l'l ~;"'1 '-1ri!l;r: \ ~~~r~·J.IfEl~Jlc.~&!:i·~c.·q·l:.·IJ
220
A voridioD of the Mated ton, that of the white fo1'11 of Sarawati
221
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224
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227
1A this fifth section, the lqout for the standing form ('bzhens.
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 verti-
cal 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 e•cret
udllinae acsociate~ with her, and forma with two faces, one face, etc. J
EO one follows whatever is appropriate in the circumstances when drav-
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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~~'lll<lj~.io.l'?l·~·~·~~ 6 14 8 3 T
8
¥·~"'l~z:::-~:l\·~~-~-Q.~Il.l:q..,,
~~~l·~.:~f7'~'"1~·,:;:·~·~1
230
~~ o.t::;~p:~r;:~":.l'r-3,~1 '*.-,~--. ~-~~~~~~=-~·
.,~~ ~<lW< ~ "';-'. ""i""'""'""'"~'"5~1 ~;...
~~~~·o.t~~~ ~~,~~~'t,-.e, 1\~ ~,~~~1 ,~~~,i~
a~<;y;=-~rl:J'l .::~@,l'1·~~-~ 1~,~-~~-~1 . ~,~,.,~"-,;~~
<"1~~-~tJ.t~·:::~~~-~~~~, 1~;-~·l::l·y~ c;q~-,~-~~·~q~-i~ ~,·,~~·
o:~a,·¢~1 ~~~~,~-, 19~~-~·~;si,~if:.l. ~;w~~~ ~,~-,-,~· i
~~,-~~~~-~~~~-ar~o_¥'~~~-~~~
233
234
Also in this fifth section are the forms like Sengdongma (Sen.gdon.
ma), wrathful feminine devinities with extremely curved posture, as
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
ot·the 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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8
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~ v
~/ / 1:1.
---- I
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12
/ 4
/
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8 a 10 4
12
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J<7."-t"']~"~t::.ll4~~·=l""'i-a]"''""i<l ";.r~,
- , .... ~-~
231S
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ff"~.gl~~-,·€~~.q~ \~~n.t~@~Jff~~z::!:f
40
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241
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La,2l
is the l~out in 41asre.m ©
A particular variation of the curved posture treated in section v
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 lotus-
seat; 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:rizoD-
tal 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 inter-
section 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 geni-
tals, 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 inter-
section 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),
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
n•mpit. 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
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252
253
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256
The l~out of diagram ® is still a part of section v: the
257
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258
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259
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263
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264
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 one-
half 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
and ntended leg.a is three or three and one-hal~ 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
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 fore-
head, giving the upper edge of the upraised right arm: while 'the inter-
section of the first left·vertical line and the horizontal line marking
the base of the throat is connected with the intersection of the outer-
most left vertical line and the horizontal line marking the waist,
giving the upper edge of the downward-pointing lett arm. The inter-
section 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 hori-
zontal 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 inter-
section 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.
26/!
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270
271
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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 the Yama
mo~l, 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 measure-
ments, 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
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 psrti-
cular 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 progressive-
ly shorter, they in fact do not.
27
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Section VII The Proportions for Wrathful Yak!! (gNod.sbyin.khros.pa)
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 bo~ sh!lped like the
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.
292
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.A particular variation in this seventh section is the kneeling
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 horizon-
tal line mazking the chin is connected with the intersection of the outer-
most 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•.
units, the crown of this upper face; and at four e:nall units, the
crov•s 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
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 hori-
zontal 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 oute~st right vertical line and the horizontal
line nar~ing the ankle is 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.
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Section VIII 1 The Proportions tor wrathful Demons (Srin.po.ltar.khros.pa)
~s
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
321
@ .
~
~ -f-
~
- If-
14
I
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12
/
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~
12
~
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/ i\ 8
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\ ~ ~ 6
\ ~ •6
12
6 6 8 8 6 1~ 12
6
32:.:.
--
323
~F===============================================9
~
~
the followinb horizontal li~eo in descendin~ order: the topmost line, mark-
ing 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 geni-
tals; 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 top-
most 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 verti-
cal 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 horizon-
tal 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 small-
er 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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v vv /
1'2
L v / / 6
v
\
~ ~\1\v 12
\ ~ hi\ 6
~ ~~
/~ I 12
~ l/ 12
10 8 8 8 6 12 10
6 4
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a;·~r;,~.q~~~·~·~~tl~~ ~~~.c:~"l'!:i~~~-;_::y<..\~·'l\~l!-;1
326
327
<'\ "' ...._. "' ~ ... , - '"'
~ '4~.a1F~-~~~"11~l~~i:l;~~~~~·a:.\~·lq·,i
I
li
328
I
Also inclur,ecl in this section is the five large-unit • dwarf' model
329
®
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3
1\1\l _v
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v I
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4:
3 6 12 8 12 8 8
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. I . ~
~~"'~l.-~"~"''"1'~~~-~, 1~·.!!.s.,..~a;~·"'~~·q~·~G]·€~·~
330
331