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Prajnaparamita (Image)
Thangka, painting
Cotton support with opaque mineral pigments in waterbased (collagen) binder
28.5 x 37.75 inches
Central Tibet
Ca. 17th century
Museum #: 96.015
By Natalie R. Marsh
29, May 1998
Prajnaparamita, the goddess depicted in the center of this ca. 17th century
folk tradition thangka, is the paradigmatic goddess from whom virtually
all other Buddhist goddesses arise. She is the ultimate Buddha Matri, or
"Mother of Buddhas," making her an enlightened being as well,
and thus, a female Buddha. Prajnaparamita is identified in this painting
by the small delicate linear gold painted rendering of a book resting on
the lotus in her left hand. This book is the goddess' namesake text, the
Prajnaparamita Sutra, or the "perfection of wisdom. She, and the text,
encompass and represent the wisdom that all enlightened beings must attain,
and subsequently both are seen as the progenitors of Buddhas.
The central goddess is depicted with four arms and is seated in lotus position
on a lion throne. In her left hand she holds a lotus, on which rests the
book described above. Her right hand also holds a lotus that supports a
vertically balanced vajra. Her primary hands are held in front of
her torso and make the gesture of teaching, dharmachakra mudra.
This combination of iconography is known in other painted examples and its
combined meaning is clear.1 The vajra symbolizes adamantine compassion
and the realization of bliss which, when combined with the book, representing
the perfection of wisdom, creates full enlightenment. The goddess' primary
hands held in dharmachakra mudra refer to the teaching capacity
of the goddess, and subsequently, the purpose of the specific teaching which
she personifies. Two bodhisattvas flank Prajnaparamita and appear to vary
only in the gestures of the raised hands of each. The bodhisattva to the
left holds his raised left hand in vitarka mudra and that
to the right of the goddess displays his raised right hand in abhaya
mudra, the gesture of fearlessness. The lowered hands of each are
placed in varada mudra, the boon-granting gesture. The primary
deity and the two bodhisattvas are painted with golden details in the ornamentation
and garments not unlike the painted lotuses and attributes.
Around the central deity are 500 generalized Buddhas in robes of gold leaf.
This multiplicity speaks to the goddess' role as mother and generator of
enlightened minds. Each of the 500 Buddhas are represented in groups of
4 or 5 in rectagular divisions of space. These space cells are flatly painted
in one of six colors including two shades of red, dark blue or black, green,
or yellow. These are arranged to create a pieced design, not unlike the
robes worn by Shakyamuni in numerous paintings. The gestures and attributes
of the Buddhas alternate between dhyanamudra, or meditation gesture;
dhyanamudra with a begging bowl; bhumisparsha mudra,
the earth-touching gesture; dharmachakra mudra, the teaching
gesture; among others. This division and iconography do not seem to correlate
to a known text or practice and may simply be a local aesthetic preference.
The Prajnaparamita Sutra was discovered by the great master, Nagarjuna,
who was said to have been born in the first century B.C.E. and died in the
fifth century C.E. Western scholars believe that the Nagarjuna who introduced
the "perfection of wisdom" lived during the 2nd century C.E. The
Nagarjuna of earlier and later periods may have been numerous other individuals
with the same name. Nagarjuna was said to have been approached by the nagas,
sacred serpents or dragons, after having given one of his teachings. He
was invited to descend under the sea to take a look at several texts the
serpents thought he might appreciate, given the nature of his lecture earlier.
He accepted their invitation only to find many of the primary texts of Mahayana
Buddhism; the Prajnaparamita Sutra, the Pure Land Sutras, the Lotus Sutra,
and others. After studying the texts for many years he included them in
his teachings and introduced many to the rediscovered knowledge.2 His own
understanding of the Prajnaparamita Sutra is documented in his Mulamadhyamikakarika.3
The Prajnaparamita Sutra is known in many lengths and abridged versions.
These range from the single ligature, or letter (the letter A), titled the
One Letter Sutra, to the 25,000 Line Sutra. One of the most popular versions
is the Astasahashrikaprajnaparamita Sutra, or the "8,000 Line Prajnaparamita
Sutra," held in high esteem by all Mahayana traditions.4 Totaling 18,
the versions range only in length, not in subject matter, which remains
consistently devoted to the description and explanation of the concept of
perfect wisdom. In fact, each text, regardless of length, provides a map
to perfect wisdom and enlightenment for the practitioner. However, this
is a map that is partially constructed by, and dependent on, the interpretation
of the reader himself. This is due to the indescribability of ultimate reality,
or pure presence, that the text attempts to communicate. The difficulty
in grasping this essence is evident in a few of the terms used to describe
Prajnaparamita, the Mother of Buddhas: indefinable, ungraspable, unlocatable,
unapproachable, inconceivable, etc. 5
Though it is a difficult text and concept with which to grapple, merely
reading the sutra will result in positive energy, or punya. Even
taking darshan, or visual exchange, of the text, in its book form,
is beneficial. Many Nepalese and Tibetan Buddhist monasteries possess Prajnaparamita
Sutras that are placed in a shrine like an image. The book is sometimes
decorated with garlands and tika, dressed in cloth, and surrounded
with the same ritual implements and objects placed around images of other
Buddhas. These texts are treated with the respect normally bestowed on images
and many are rarely opened or read. Occasionally, the book is even the source
of healing powers passed on by a worn wooden stick placed on the text by
a priest then rubbed on the stated sore spot of a practitioner.6
1 Rhie, Marylin, and Robert Thurman, Wisdom and Compassion:The Sacred Art
of Tibet, 314-315.
2 Thurman, Robert in his Foreword to Hixon, Lex, Mother of the Buddhas:
Meditation on the Prajnaparamita Sutra, xii.
3 Hixon, Lex, Mother of the Buddhas: Meditation on the Prajnaparamita Sutra,
7.
4 Thurman, Robert in his Foreword to Hixon, Lex, Mother of the Buddhas:
Meditation on the Prajnaparamita Sutra, xiii.
5 Hixon, Lex, Mother of the Buddhas: Meditation on the Prajnaparamita Sutra,
13-14.
6 Huntington, J. C., taken from discussion and photodocumentary evidence
from Nepal
References:
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