Rakta Shadakshari Avalokiteshvara (Image)
Thangka, painting
Cotton support with opaque mineral pigments in waterbased (collagen) binder
18.75 x 21.5 inches
Tsang District
Ca. 15th or 16th century
Menri of the Sakya pa style
Museum #: 96.018
By Ariana Maki & Chaya Chandrasekhar
3 June, 1998
Avalokiteshvara is the Bodhisattva of absolute compassion who descends into
the hells to help afflicted beings better their rebirth. Here he is shown
as Rakta, or Red, Avalokiteshvara in the center of a mandala. The specific
identification of this mandala is unclear and the ways in which it is meditated
on, or the sotoreological methodology it communicates, remains speculative
until further study.
Rakta Avalokiteshvara is shown as a paired deity, in sexual union with his
female counterpart. The prayer beads held in his upper right hand, the lotus
held in his upper left hand and the jewel of enlightenment enclosed in his
primary hands, also identify the figure as Shadakshari Avalokiteshvara.
Although a Bodhisattva, here Rakta Shadakshari Avalokiteshvara is probably
shown as a fully enlightened Buddha, identical with the five jina Buddhas.
This is evident as the petals in the four cardinal directions contain images
of Rakta Shadakshari in union with four of the Buddha prajnas. Although
difficult to distinguish, Mamaki is depicted in the lower petal. Moving
clockwise, Sapta Lochana, probably Vajradatvishvari and Shyama Tara are
depicted in the other three petals. Although no distinguishing attributes
allow a conclusive identification, the jina Buddha Amitabha's female counterpart,
Pandura, is probably understood to be in union with Rakta Shadakshari Avalokiteshvara.
By extension, it is possible that Rakta Shadakshari Avalokiteshvara is being
equated with the jina Buddhas and is thus a fully enlightened Buddha himself.
Images of the Buddha prajnas, however now without their male counterparts,
are repeated in the intermediary petals of the central lotus, further emphasizing
that Rakta Shadakshari Avalokiteshvara may be identical with the five fully
enlightened jina Buddhas. The square around the central lotus is marked
with the jina colors: blue, yellow, red, green and white (which is conceptually
present in the center). Four male figures are depicted directly above each
of the petals in the intermediary directions which contain the images of
the prajnas. Although indistinguishable through hand gestures or attributes,
these figures may be the primary Bodhisattvas, or masters of the house,
of each of the jina Buddhas. Thus, the groups of figures in the central
section of the mandala repeatedly illustrate to the practitioner the shared
identities of Avalokiteshvara and the jina Buddhas.
The outer ring of the mandala is divided into eight sections each representing
a charnel field. Charnel fields are places where the dead are cremated and
the remains are devoured by carrion-eaters. In the Buddhist context, charnal
fields are common settings for Tantric meditations and attainments. In this
painting, each field is depicted with a specific Mahasiddha or great adept,
tree, stupa, carrion-eaters, treasures and so on. The set of eight charnel
fields occur frequently in mandalas of various types in Tantric Buddhism.
Smaller, subsidiary mandalas are depicted in each of the four corners of
the painting. The top left mandala is that of the jina Buddha Amitabha who
is the progenitor of Avalokiteshvara. Rakta Shadakshari Avalokiteshvara,
as the emanator of four protective deities, appears at the center of the
mandala in the top right. Vajravarahi is represented in the center of the
lower right mandala. She is accompanied by a group of four dakinis who alternate
with depictions of the vase of immortality. In the center of the lower left
mandala is a fierce, white paired-deity. The specific identification of
this figure, and thus the mandala, is unclear.
Along the top of the painting are fifteen images of various deities and
teachers, illustrating the lineage of the Nyingma sect. These include figures
of Amitabha, depicted in the far left, followed by white Shadakshari Avalokiteshvara
and Padmasambhava, the founder of the Tantric teachings of the Nyingma sect.
A series of Mahasiddhas and other teachers occupy the top right section
of the painting but are indistinguishable due to the damaged condition of
the painting. However, two figures wear black caps that identify them as
Karmapa Lamas who are considered to be direct manifestations of Rakta Shadakshari
Avalokiteshvara in Tibet.
Figures of the donor of this mandala and various protective deities are
depicted along the bottom of the painting. Identifiable among them are two
images of Hayagriva, the angry form of Avalokiteshvara as well as an image
of Mahakala, also a fierce emanation of the Bodhisattva. The goddess, Palden
Lhamo, seated on her mule-like khyang, and Pehar, with the characteristic
brimmed cap, are also present.
The painting is probably a realization mandala in which the practitioner
may envision him or herself as being identical with the central deity. Subsequently,
the meditator realizes that Rakta Shadakshari Avalokiteshvara is a fully
enlightened Buddha, no different from the five jina Buddhas. Being identical
with Rakta Shadakshari Avalokiteshvara, the devotee realizes that he or
she is also indistinguishable from the jina Buddhas. In this manner, the
mandala may serve to map out the attainment process of the meditator.
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