Mahakala
By Tom Suchan and Chaya Chandrasekhar
8 June, 1998
Mahakala is the fierce manifestation of Avalokiteshvara, the Bodhisattva
of absolute compassion, and the primary Dharmapala, or "Dharma protector"
in Tibetan Buddhism. Mahakala's name translates as the "Great Black,"
one, or "Great time." The latter is a reference to the deity's
ability to transcend all time. More than seventy-five forms of Mahakala
are known in Tibet where he is generally called mGon po, or the "Master,"
"Lord," or "Protector."
Mahakala is characteristically depicted with an angry face, pot-bellied,
and standing on a human corpse or the elephant-headed, Hindu god, Ganesha,
who, in this case, signifies hindrances. He is dark, often black or blue
in color, although the color may vary depending on the specific form being
represented. In the SAMA collection, a red Mahakala, associated with the
intermediary southwest direction, is depicted in #97.085, a portrait of Bromdon. Sita, or white, Mahakala is seen
as a subsidiary figure in #93.014, a large painting of he protector, Gur-gyi Mgon Po. In
each of his two, four, six or sixteen hands, Mahakala holds the kapala
and katrika, a trident, mala, or prayer beads, a noose, the
heart of a vanquished enemy, a damaru, or kettle drum, sword, khatvanga
and so on. His primary attributes are the kapala, or skull cup, and
the katrika, or chopper. The skull cup and its contents represent
the five sense offerings, while the chopper represents detachment from samsaric
existence.
Mahakala in his six-armed form, trampling Ganesha, is the central figure
in the SAMA painting, #97.082. In his upper left and right hands he holds the severed
skin of an elephant, symbolizing the ability to overcome delusion. Along
with the elephant skin, he holds prayer beads and a trident in his upper
right and left hands respectively. In his lower right hand he holds the
heart of an enemy who hinders religious attainment. In his lower left hand
he holds a noose. The katrika and kapala are held in each
of his primary hands. He is wears a garland of freshly severed heads around
his body while a green snake, tied across his shoulder and body, serves
as the sacred thread. A blue Buddha figure, making bhumisparsha,
or earth-touching, gesture, is depicted in the center of Mahkala's elaborate
hair arrangement. This figure is probably the Buddha Shakyamuni or, the
jina Buddha Akshobhya.
In the top center is a representation of the Adi Buddha, Vajradhara, the
progenitor of all the figures in the painting. Two Mahasiddha-type figures
flank Vajradhara. Other figures along the top row include various teachers.
Two Buddha figures are depicted directly below the teachers in the top left
and right corners of the painting. The Buddha on the left is white and makes
the Dharmachakra, or teaching, gesture. The damaged condition of
the painting obscures the proper identification of the Buddha on the right.
Manjushri, the Buddha or Bodhisattva of absolute wisdom, is depicted on
the left, within the flames that surround Mahakala. On the right is the
Buddha Amitayus, seated in the meditation posture, while holding the vase
of life.
Four figures, probably belonging to Mahakala's retinue, are shown on either
side of Mahakala. The two figures on the left stand on human corpses and
hold various attributes. The figures on the right ride on animal mounts.
The top right figure may be Mahakala's primary attendant, Dugon Trakshad,
who rides on a black horse. Dugon Trakshad generally carries a flaming sword
in his right hand and a skull cup in his left. In the SAMA painting, however,
the figure on the black horse holds a kapala in his left hand and
a banner trident in his right. The lower right figure, riding on a mule-like
animal is probably Palden Lhamo, the female attendant of Mahakala. In each
of her four hands she holds a sword, a trident and the skull-cup and chopper.
The figure in the bottom center is possibly Kshetrapala, who frequently
attends to Mahakala. He is known to ride on a black bear while holding a
vajra chopper and skull cup. However, the sketchy representation
of the animal mount in the SAMA painting does not allow a definite attribution.
Along the bottom of the painting, on either side of the lower central figure,
are representations of the guardians of the ten directions, each on his
specific animal mount. Included in this group, and easily identifiable,
are Indra on the upper left, Nairiti on a human corpse and Varuna on the
crocodile to the lower central figure's immediate right. A Multi-headed
figure of Brahma is depicted on the far right side of the painting. A figure
holding a trident and skull cup, wearing a long skirt, is depicted above
the image of Indra on the left. This may be the goddess, Ekajathi, often
considered a member of Mahakala's retinue. In the corresponding position
on the right is a bull-headed figure, probably Yama, on a bull.
This painting is indicative of the Tibetan folk style. Works by artists
not trained in a specific school of painting generally constitute the folk
painting tradition in Tibet. Although whimsical in appearance, this painting
makes for a powerful representation of the deity.
In contrast to the folk tradition, #93.010, a second painting of the six-armed Mahakala in the SAMA
collection, is a typical example of the classical style of Tibetan painting.
Characterized by finely rendered figures, elegant refinement and evident
vivacity, the classical style was common in Central Tibet, a region close
to the main religious centers.
Mahakala is here represented in the center as a paired-deity, in union with
his female counterpart. He has three heads, and six arms. In his upper right
and left hands he holds a sword and elephant goad respectively. In his lower
right hand he holds a danda, or staff and in his lower left hand
he holds a noose. In his primary hands he holds a katrika and kapala
while supporting his female counterpart who is light blue in color. She
holds a kapala in her left hand and probably a katrika in her right
hand which is held behind the male figure. The attributes differ from the
normal set of six discussed above suggesting that this figure is a specific
form of the deity that is not identified in common published literature.
In the top center is a representation of Vajrasattva in union with his female
counterpart, Sattvavajri. He is the practitioner who envisions all the other
deities in the mandala. Directly below him is Manjushri with a raised sword
in his right hand. To his top right is an image of a seated Buddha making
abhaya, or fear not, gesture. To Manjushri's upper left is a representation
of Padmasambhava, indicating that this painting probably belonged to the
Nyingma order. Figures of lineage teachers and great masters are represented
in the top row of the painting.
In the bottom center, directly below the main image, is a representation
of a two-armed Mahakala accompanied by a gray hag-like female figure. Mahakala
holds a vajra-chopper in his raised right hand and a kapala
in his left. The female figure holds a kapala in her left hand and
a trident in her right. Although male and female, the two are not a paired
deity as they are not in sexual union and are depicted in a similar manner
to Yama and his sister Yamari.
A total of twenty-two other figures accompany the central paired-deity.
They appear to be male and female members of Mahakala's retinue. All are
depicted as energetic, fierce figures, some with animal heads. Their animated
pose and dynamic colors help manifest the idea that Mahakala is the energetic
compassionate aspect of enlightenment waiting to be realized within every
practitioner.
As in the two Mahakala images discussed above, the skull-cup and chopper
are generally the primary attributes of the deity. However, several forms
of Mahakala do not carry the skull-cup and chopper and are, instead, identified
by various other attributes and characteristics. Two such forms of Mahakala
included in the SAMA collection are #95.012 and #93.017.
Mahapandaka Karma (#95.012) is the Genderless, or Eunuch, Mahakala who is commonly
venerated by the Nyingma sect. Mahapandaka Karma holds a lance or banner
to the sky in his right hand, and a tulip-shaped heart and kidneys of a
vanquished enemy in his left. His name alludes to the enlightened state
which transcends gender and all levels of self-identity and attachment.
The Adi Buddha Samantabhadra is depicted directly above the main figure.
Vajrasattva is represented on the proper right side of Samantabhadra and
the Bodhisattva Maitreya is shown seated in a relaxed posture on the proper
left side.
Seven other forms of Mahakala are depicted around Mahapandaka Karma. Although
inscribed, the illegible condition of the script prevents positive identification
of each of these figures. The crow-faced Mahakala, known in Tibet as Mgon
Po Bya rog Dong, is depicted in the lower left corner of the painting. He
is shown seated on a horse holding a bow and arrow in his hands. Mgon Po
Tag Shon Ma, the two-armed Mahakala who rides a tiger is depicted in the
lower right corner of the painting.
The second of the more uncommon forms of Mahakala represented in the SAMA
collection is #93.017 . The black-cloaked Mahakala, known in Tibet as Ber nag
Mgon Po, wears the robe of a necromancer on his back. He raises a skull
cup to his mouth with his left hand, while brandishing a phur-pa
in his right. The phur-pa, literally translated as "[ritual]
tent stake," is a ceremonial implement used to pin down and transform
evil and negative forces.
The four-armed Shadakshari Avalokiteshvara, the spiritual source of Mahakala,
is depicted directly above Ber nag Mgon Po. To his right is the Buddha Shakyamuni
who makes the bhumisparsha, or earth-touching, gesture with his right
hand. Padmasambhava who is the Buddhist necromancer par excellence, is depicted
on the left. In Tibet, Padmasambhava is renowned for his ability to suppress
and convert evil spirits who hinder Buddhist religious attainment.
On either side of the main figure are two skull cups with torma and
sense offerings. Below the main figure are three other forms of Mahakala.
In the center is a fierce red colored form of the deity who holds a banner
and a skull cup in his hands. The figures on the right and left, each hold
a phur-pa and a skull cup in the same manner as the Ber nag Mgon
Po. They probably serve as Ber nag Mgon Po's acolytes who aid the devotee
along his or her religious path.
References:
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