#dhyani mudra

[talonabraxas]

"Om Tare Tu Tare Ture Svaha" Green Tara (Goddess of compassion) Mandala Talon Abraxas

Green Tara possesses the immense power of a divine being and the immense opulence of a divine being, as well as all of these precious jewels, which she can use to alleviate the suffering or poverty of all living things. She has a crown ornament that resembles a hat on the crown of her head, and a red figure is in the very center of that. The Buddha Amitabha, who is always red in color, is represented by that red figure at the very center of the reddish halo around her head. Green Tara signifies the energy winds of the body and breath, as well as the element of a Buddha that protects us from fear. Tara's influence is our ability to act, to move through life and to achieve our goals. Her name literally means "woman who ferries across."

Types of Green Tara We can find ten different types of green tara on the basis of their symbolism, appearance, mudra, and iconography, each Tara is distinct from the others.

Khadiravani Tara Vasya Tara Arya Tara Mahatarri Tara Mahasri Tara Varada Tara Durgottarini Tara Dhanada Tara Jahguli Tara Parnasaban Tara Khadiravam Tara

In the Sadhansmala, Khadiravani Tara is depicted as being green and holding the Utasla on the left and the varada mudra on the right with two hands. She can be recognized by the presence of Asokakanta Marici and Ekajata. On her crown, she has Amoghaslddhi's image.

Vasya Tara The European style of sitting known as Bhadrasana is Vasyatara's signature pose. She is, however, described as being single, and as such she is not accompanied by any gods or goddesses. She is portrayed by the Khadiravani class accompanied by Taras.

Arya Tara This form of Tara is distinguished by the fact that she sits in the Ardhaparyahka posture and like Vasyatara she is completely alone. Vasyatara is said to have another name for Arya Tara. In the Ardhaparyahka posture, she is seated alone. She is green and has two arms.

Mahattari Tara Mahattari Tara is distinguished by the Vajraparyahka posture in which she sits, as well as by the fact that she is represented alone. Mahattari Tara is a green goddess.

Mahasri Tara Mahasri Tara is depicted as sitting on a golden throne that is covered in a variety of flowers. She has one face and two heads that are in the Vyakhyana Mudra. She wears ornaments and a crown with an image of Amoghasiddhi on it. Ekajata is seated in the ardhan pose and carries an angry face with a swelling abdomen. She holds the kartri and the kapala in her two arms and wears a dress made of tiger skin. Arya, jahguli is to the left of Mahasri Tara, Asokokanta, and Mahamayuri are to the right. Her green color comes from the Dhyani Buddha Amoghasiddhi.

Varada Tara Varada Tara sits in the Ardhaparyanka position like Aryatara however she can be effortlessly perceived by the presence of four goddesses Asokakanta Marici, Mahamauri, Ekajata, and Janguli.

Durgottarani Tara Durgottarini Tara has a green complexion, sits on a lotus, and wears white clothing. She has four arms, and the first pair of her hands are used to hold a noose and a goad. The second pair of her hands are used to show the Varada mudra and the lotus.

Dhanada Tara Wealth Granting Tara is another name for Dhanada tara. Her second right hand is holding a rosary, and her first right hand is making the ultimate gesture of generosity. Utpala and a book are held in her two left hands. She has an animal as her Vahana, is accompanied by eight goddesses named after the eight vowels in her mantra, and her crown features an image of Amoghasiddhi. She sits in the sattva posture and is adorned with jewels and silks. She is surrounded by eight other Taras of varying hues and appearances, in addition to the four guards at her palace's entrances.

Jahguli Tara Jahguli Tara can be yellow, white or green depending on where it comes from in Aksobhya. She carries the Trisula, the peacock's feathers and a snake in three of her hands when she is green, and she performs the Abhaya mudra with the fourth hand.

Parnasaban Tara Parnasaban comes in different forms and colors. Some of them are as follows:

Parnasaban (green parnasaban) When Parnasaban is green, it is emitted by Amoghasiddhi. Parnasaban (yellow parnasaban)

Aksobhya is represented by Parnasaban in its yellow form. Parnasaban is typically three-faced and six-armed, but may have four arms in rare cases. The green variety is unique in that all three faces depict irritated smiles.

[hinducosmos]

Amitabha Buddha Mandala

Hasta Thangka Art Center wrote : Amitabha Buddha is being portrayed as Shakyamuni Buddha but usually, he is often depicted seated in meditation mudra while earth touching mudra is reserved for a seated Shakyamuni Buddha alone. In Tibetan Buddhism, Amitabha is red in color (red being the color of love, compassion, and emotional energy). He is being known to protect beings from the negative emotions of attachment his unique emblem is the lotus.

He is thus associated with the attributes of the lotus: gentleness, openness, and purity. Amitabha is known as the red Buddha of the west and the most ancient among the Five Dhyani Buddhas of the Vajrayana tradition. Amitabha means infinite light and he is also known as “Amitayus” or Buddha of the infinite life. A mandala is a spiritual and ritual symbol in Asian cultures.

It can be understood in two different ways: externally as a visual representation of the universe or internally as a guide for several practices that take place in many Asian traditions, including meditation. In Hinduism and Buddhism, the belief is that by entering the mandala and proceeding towards its center, you are guided through the cosmic process of transforming the universe from one of suffering into one of joy and happiness.

Size =30cmx30cm, Price = 200$(Free shipping) Material used = Cotton canvas, natural pigment, Real 24k gold

FB: Hasta Gola Mandala Thangka Art Center (via Instagram: Hasta Thangka Art Center)

[dreaminginthedeepsouth]

Kuan Yin

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“In the months and years following my participation in the completion of Oracle of Compassion: the Living Word of Kuan Yin, I did, in accordance with the deity’s former declaration—that she would continue sending important dreams, experience many dreams and visitations from Kuan Yin. It was after completing the transcription of some of the Kuan Yin quotes that I fell into a deep slumber. Just before awakening, I dreamt of Kuan Yin standing in my living room directly in front of the marble-tiled fireplace wherein Lena Lees and I would hold prayer circles.

So real was this vision that I could hear the deity’s sweet voice explain that there is a specific meditation for connecting with the Celestial Wisdom! Witnessing Kuan Yin lie face down on the Oriental Carpet with arms outstretched over Her head, I watched as Her thumb and forefinger formed a triangle—the dhyana mudra specifically designated to Kannon called the dhyana mudra displayed by the fourth Dhyani Buddha Amitabha, also known as Amitayus Kuan Yin. It was then that Kuan Yin further explained the significance of this specific mudra; that it acts similar to a capstone on an obelisk—drawing wisdom to one who has demonstrated intention to be a teacher of wisdom.

Aware that Kuan Yin was pointed in a northward direction, I surmised this particular alignment was also a significant aspect of the meditation—that this specific positioning was most ideal for receiving answers for prayers directed to the Her. Later in the dream, it was confirmed that each person attracts from the universe, realities that are aligned with their specific beliefs and values.” ― Hope Bradford CHt, Kuan Yin Buddhism:: The Kuan Yin Parables, Visitations and Teachings

[lamathanka]

Bhumisparsha translates into 'touching the earth'. It is more commonly known as the 'earth witness' mudra. This mudra, formed with all five fingers of the right hand extended to touch the ground, symbolizes the Buddha's enlightenment under the bodhi tree, when he summoned the earth goddess, Sthavara, to bear witness to his attainment of enlightenment. The right hand, placed upon the right knee in earth-pressing mudra, and complemented by the left hand-which is held flat in the lap in the dhyana mudra of meditation, symbolizes the union of method and wisdom, samasara and nirvana, and also the realizations of the conventional and ultimate truths. It is in this posture that Shakyamuni overcame the obstructions of Mara while meditating on Truth.

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#Shakyamuni #Buddha #meditation #dhyani #siddhartha #gautam #dhamma #sangha #enlightened #nirvana #bodhichitta #thankapainting #lamathankapaintingschool #thangka #himalayanart #bhumisparsha #mudra

[mahayanapilgrim]

Oṃ Amideva Hrīḥ

Amitabha (his name means infinite radiance) is an archetypal Buddha who is supremely important in far eastern Buddhism. He represents love and compassion, and he is pictured as being the rich, warm color of the setting sun.

Amitabha is one of the so-called Dhyani-Buddhas, a set of five non-historical, symbolic figures who are arranged in a mandala. The other Buddhas in this set are Vairocana (center), Akshobhya (East), Ratnasambhava (South), and Amoghasiddhi (North).

Amitābha is the Buddha of the Western quarter. His name means "infinite light" - amita (unmeasured, boundless, infinite) + ābha (splendour, light; colour, appearance, beauty - related to bha : light, lustre, splendour; a name for the planet Venus.).

He is usually depicted as a bhikṣu with his hands in the dhyana mudra. He is deep red in colour. Another form common in the Western Buddhist Order shows him with his right hand holding up a full red lotus, while his left hand remains in his lap.

Amitābha dwells in his pureland called Sukhāvatī - the happy realm.which is described in the Sukhāvatīvyūha sūtras (large and small). Amitābha is closely related to Amitāyus - infinite life - who is sometimes described as his "reflex". A mantra for Amitāyus is included below. A visualisation meditation on Amitāyus is described in the Amitāyurdhyāna Sūtra. These Three sūtras are collectively described as the "Pureland Scriptures" and belong to the earliest strata of Mahāyāna texts.

Amitābha's special quality is Compassion, which is balanced in the Mandala of the Jinas by Akṣobhya the Buddha of Wisdom. Amitābha is the head of the Padma, or Lotus family.

[yayabink]

Check out this listing I just added to my Poshmark closet: Vintage Alabaster Amitabha Buddha / Signed A Giannelli 2000 Italy / Dhyani Mudra.

[turisiancom]

TURISIAN.com – Berkunjung ke Tulungagung, Sobat Turisian yang suka wisata budaya dan sejarah bisa mampir ke cagar budaya Candi Sanggrahan. Sebuah candi yang diduga berdiri sejak masa Majapahit, yaitu pada masa pemerintahan Raja Hayam Wuruk (1359-1389 M). Lokasinya candi ini berada di Desa Sanggrahan, Kecamatan Boyolangu, Kabupaten Tulungagung, Jawa Timur. Untuk dapat mencapainya, Sobat Turisian bisa berangkat dari pusat kota Tulungagung dengan memakai kendaraan sejauh 8,1 km. Sedangkan dari Kota Surabaya dapat kalian tempuh sekira 154 km. Kompleks Candi Sanggrahan secara umum terdiri dari sebuah bangunan induk dan dua buah sisa bangunan perwara. Bangunan induk terbuat dari batuan andesit dengan isian bata. Dengan ukuran panjang 12,60 m, lebar 9,05 m, dan tinggi 5,86 m. Bangunan bersejarah tersebut memiliki empat tingkat yang masing-masing berdenah bujursangkar dengan arah menghadap ke barat. Bangunan perwara yang berada di sebelah timur terbuat dari bata merah. Dulunya, di bagian timur bangunan induk terdapat lima buah arca Buddha yang masing-masing memiliki posisi mudra yang berbeda. Namun demi keamanan, arca tersebut sekarang tersimpan di Museum Wajakensis. Baca juga: Pantai Gemah di Tulungagung ini Unik, Gelombangnya Tenang Berpasir Kecokelatan Candi Sanggrahan berada pada teras atau undakan berukuran 51 m x 42,50 m. Pagar penahan undakan itu adalah bata merah setinggi tidak kurang dari dua meter. Corak Candi Buddhis Berdasarkan lima buah Arca Dhyani Buddha tanpa kepala, membuktikan latar belakang keagaamaan bangunan ini adalah Candi Buddhis. Kemudian Sobat Turisian akan melihat ragam hias pada kaki candi tingkat pertama berupa paniel relief kancil bertelinga lebar (ÇaÇa). Serta singa yang terpahat secara berhadapan sebanyak delapan panil. Dugaannya, objek Candi Sanggrahan ini berkaitan dengan keberadaan Candi Boyolangu yang hanya berjarak 3,9 km. Terkait informasi mengenai peristirahatan rombongan pembawa jenazah pendeta wanita Buddha bernama Gayatri yang bergelar Rajapadmi sebelum ditempatkan di Candi Boyolangu. Penemuan Candi Sanggrahan Informasi keberadaan candi ini hasil dari laporan J.Knebel tahun 1908 mengenai penemuan lima buah Arca Dhyani Buddha di sekitar bangunan tersebut. Kemudian pada tahun 1915, Oudheikundige Dienst (Dinas Purbakala Masa Kolonial Belanda) melakukan penelitian di candi yang satu ini. Baca juga: Mencicipi Kelezatan Aneka Makanan Khas Tulungagung Candi Sanggrahan sudah mengalami beberapa kali kegiatan pemugaran yang pertama pada masa kolonial Belanda. Lalu berlanjut oleh BPCB (Balai Pelestarian Cagar Budaya) Provinsi Jawa Timur pada tahun 2019, plus kegiatan penataan lingkungan di sekitarnya.*     Sumber & Foto: arkeologijawa.kemdikbud

[thaiamulets-co]

[ad_1] In a special form of Dhyana Mudra, the middle, ring, and little fingers of both hands lie on top one another and the thumbs and index finger of each hand, touching each other, form a circle, which here also symbolizes the world of appearance and the true nature of reality. You can place him anywhere except toilet and bathroom. Best Feng Shui location ~ Living room or office near main entrance, where you can see him everyday. This attracts positive energy!! [ad_2] https://thaiamulets.co/w-feng-shui-12-thai-buddha-dhyani-mudra-home-decor-peace-statuesg16516/?feed_id=3880&_unique_id=63104895adeda

[akasha5d]

Segundo chakra: Svadhisthana

Elemento: Agua Polaridad: Femenina Sentido: Gusto Mantra: VAM Color: Anaranjado Expresión mental/ espiritual: magnetismo, asombro, fluidez, sensualidad  Expresión corporal: riñones, vejiga, caderas, cavidad pélvica, genitales, órganos reproductivos, todos los humores, sangre, linfa, jugos digestivos y esperma

El segundo chakra (Svadhisthana) está ubicado en la zona del vientre, a unos dos centímetros por debajo del ombligo y tiene las cualidades del agua. De ella brota la vida, la energía creativa, la transformación y la capacidad de revitalizar y sanar. Si el primer chakra es la raíz (Muladhara), representando la seguridad y la estabilidad sobre las que construimos nuestra fuerza fundacional, este chakra complementa la pulsión de vida con la alegría, la pasión y el disfrute por la vida. Contrario al primer chakra que tiene una vibración masculina, este se inclina hacia las facultades femeninas de fecundidad, apertura, percepción, sensualidad y adaptación. No es gratuito que en la tradición hindú, este sea el centro energético de Shakti, que es la forma femenina de Shiva, los dioses de la energía creativa y destructiva, respectivamente.

La vibración de Svadhisthana chakra está relacionada con la sexualidad como una fuerza creativa, diferente al instinto de supervivencia encaminado a la necesidad de reproducción. También parte de este centro energético la sensualidad, entendida como el despertar de los sentidos, a través de los cuales honramos a nuestro ser físico y percibimos el mundo, la capacidad de goce en el momento presente que nos permite sentirnos conectados con la vida. Si el primer chakra es la fuerza vital, el segundo chakra es esta energía en movimiento y en creación permanente.

La capacidad de asombro y el vivir el momento presente son parte de este chakra. Ver la vida como un juego creativo que está en una construcción permanente, que debe ser reinventada siempre, es estar conectados con esa parte de nosotros que dejamos atrás cuando asumimos un rol adulto en el mundo. Cuando estamos creciendo experimentamos el mundo como algo nuevo a cada segundo y nos maravillamos con cada pequeño descubrimiento que hacemos a través de nuestros sentidos, y que, paulatinamente a medida que envejecemos, se va perdiendo. El placer sensorial es una manera de dejar de lado los prejuicios y preceptos que nos hacen creer que ya todo es conocido.

Precisamente, porque si la existencia tiene una naturaleza que el misticismo del yoga y de otras tradiciones espirituales como el budismo reconocen, es el movimiento constante, como el agua. Nada es permanente, ni nosotros ni el entorno, porque todo lo que existe es energía que está siempre en transformación. Este chakra nos permite fluir con la vida, aceptar los cambios sin apegarnos y aceptar cada instante como un regalo. La fluidez del agua y sus cualidades purificadoras se representan en el cuerpo como algunos de los mecanismos de limpieza, liberación y desintoxicación que tenemos: las lágrimas, el semen, los riñones, la vejiga.

Experimentar la vida como un milagro constante (como el bello poema de William Blake) es estar sintonizado con nuestro segundo chakra. Nos abre la puerta a la belleza, al gusto por la vida y a las nuevas experiencias. No importa el llamado de cada uno o los principios, compromisos y voluntad, siempre se puede ver la vida a través de estar imbuido en el momento, a través del asombro y la apertura permanente.

La sensibilidad emocional es tan importante en este proceso de sintonía con la existencia porque implica una receptividad a las sutilezas del ambiente. Las emociones nos permiten experimentar la vida con plenitud y asimilar sus matices. Cuando somos sensibles estamos abiertos a conmovernos con la belleza, al placer sensorial y estético que forma parte de la pasión por la vida y toda la exuberancia, la belleza y la magia que ofrece. Nos importan los procesos más que los objetivos.

Por medio de este chakra podemos saborear la vida en cada momento, disfrutar los colores, la música, la belleza en el arte, lo que nace de la tierra, las personas y toda la existencia como una manifestación exuberante y mágica de la divinidad. Es gratitud y compenetración con el momento y lo que ofrece, pues esta vibración no solo nos vuelve más receptivos, sino que representa el magnetismo hacia el mundo que nos permite relacionarnos con las energías de los demás, y atraer lo que nos alegra y satisface. Es dejar que la incertidumbre sea emocionante y que fluya como debe ser porque siempre te traerá nuevas maneras de disfrutarla, nuevos momentos sublimes en los que la belleza de la tierra se conectan con el misticismo y que cada cosa es una manifestación de esta unidad y gozo.

Los síntomas del segundo chakra bloqueado pueden ser: represiones sexuales, rigidez, antipatía, miedo al disfrute, desprecio hacia todo lo sexual, aislamiento y enfermedades en el sistema reproductor y urinario.

Para abrir el segundo chakra tenemos que tener en cuenta que su elemento es el “agua”, el sónido del agua y su esencia es fundamental para conectarnos con este centro de energía. Las terapias con cristales y piedras preciosas, colores, esencias y sonidos también son efectivas. Además de la visualización del color anaranjado, mientras se recita el mantra VAM y se hace la posición de manos del Mudra Dhyani durante la meditación.

[artofmaquenda]

Little experiment with gouache of a meditating snep :]

[spotsupstuff]

It's a warm nice day with gentle breeze, there's a tiny waterfall nearby that keeps the air pleasantly humid. The flowers and fruits are blooming, making the place they are staying at pleasantly dark green.

…such a difference to what they have been used to after over five hundred years of famine.

Marshal Liù is sitting behind a hill, a little bit aways from where the survivors are rebuilding their lives, having the chance to raise healthy children once more. Having the chance to just play. He sits in meditation, hands resting in his lap in Dhyani mudra- hand in the other, thumbs connecting so a circle would be created- to empty his mind, to focus better. All in order to focus correctly on Pútí Zǔshī's teachings the patriarch uttered to Sūn Wùkōng ages ago.

The past hearing might be his favorite ability he possesses- and this is hardly the first time he's spying on his brother’s past. He's been doing so since he left them again after that pig came begging him to come with it. Liù’ěr is still greatly upset about that- but this listening will make everything okay again.

Marshal Mǎ is standing a little bit further off, leaning against a tree and watching him as per their agreement. She would watch over him and his peace, while he learns how to become greater. Sometimes she looks around to check if anybody is coming to them, but for the most part she's in her own thoughts. Hardly somebody wanders too far off after the hunters and the poaching. From time to time she sighs. She is, admittedly, kind of unsure about this whole thing. So sometimes she pulls on the hem of her deep blue uniform, anxiously rotating this whole situation in her mind. Mostly trying to figure out why she feels so bad about this.

Then, suddenly, she sees her little brother smile, open his eyes. He looks at her and beams just like when he was still tiny, jumping to his feet. "I think I got it!! That took a good bit, oh wow," he says, tail swishing in excitement, all six ears glowing from the power of his giddiness.

She tilts her head and walks over, watching as he whispers something under his breath, moves his hands that way and then the other, he clenches a fist and shakes for a second before jumping into the air in a flip and-

- ̗̀ Poof! ̖́-

A cloud appears between them just shy of directly underneath his caster, causing Six Ear to cheer and do a little fist bump when he lands next to it. She always found that endearing, seeing him flap his hands, thump his tail against the ground or pace as he explained a newest shadow power that he managed to get under his command. Both of her brothers are quite the nerds, she thinks fondly.

She's never going to forget the first time he took her on a trip through the shadows of trees, though. It was one of the most stressful things in her entire life.

"Wow…," she sighs out kind of breathless, eyes shining and her own lips pulling into a smile as she runs her hands over the newly created jīndǒu yún... It’s so soft against her skin, that cloud so akin to the ones of immortals...

Has her littlest brother officially become a mockery of powerful spirits like their king just now?

Six Ear laughs as he jumps on the cloud. And by some unspeakable magic it doesn't disappear under his feet. He laughs a little bit more in disbelief.

"I did it- I actually did it!"

"No shit, it's right in front of me. And under your fat bum." Mǎ pats the cloud some more, ignoring Six Ear as he blows a raspberry at her.

"Stop petting it like a mutt and come!" is all the warning she gets before he grasps her wrists and pulls her up onto the nimbus. A certain kind of panic runs through her veins for a second at the feeling of standing on something different than solid ground. Six Ear has taken to that surprisingly quickly, she thinks. Might have to do something with the whole shadow thing.

She exhales deeply before smacking him on the shoulder, stuck in a wide stance as she is still afraid she might lose some sort of balance even though the cloud seems rather solid. "Don't scare me like that! Where's your respect?" But despite his laughter at that, she still feels giddy when he sits down onto the cloud. She follows suit, sitting closely out of fear of slipping and wrapping her arms around his waist, resting her head on his shoulder. "Let it be known that if we fall down, I will be demoting you from a marshal to a maid! You’ll be stuck on diaper duty for years to come."

"You would never. You love me far too much for that!" Liù’ěr says with a wide smile before leaning forwards, his tail entangling with hers for safety as he clutches at the front of the jīndǒu yún.

Maybe she really does love him a tad bit too much for her own good- but who could blame her, with how much she has survived through with him by her side? Maybe she laughs too much as he tries to figure out how to control the nimbus. Maybe she sarcastically congratulates him after they end up in a lake because of the damn thing dispelling under them, with a stupid grin that somehow becomes even stupider when he throws an unimpressed look her way.

Maybe she loves him too much. Maybe she will pay for it one day as it seems to be a custom of the world to fuck her over. But today, she gets to splash some water on him right after he squeezes a commendable amount of water out of his fur. And call him an airhead as he grumbles, for good measure.

Today, she gets to be proud of her love- content.

[talonabraxas]

Green Tara (Goddess of compassion) Talon Abraxas

Green Tara possesses the immense power of a divine being and the immense opulence of a divine being, as well as all of these precious jewels, which she can use to alleviate the suffering or poverty of all living things. She has a crown ornament that resembles a hat on the crown of her head, and a red figure is in the very center of that. The Buddha Amitabha, who is always red in color, is represented by that red figure at the very center of the reddish halo around her head. Green Tara signifies the energy winds of the body and breath, as well as the element of a Buddha that protects us from fear. Tara's influence is our ability to act, to move through life and to achieve our goals. Her name literally means "woman who ferries across."

Types of Green Tara We can find ten different types of green tara on the basis of their symbolism, appearance, mudra, and iconography, each Tara is distinct from the others.

Khadiravani Tara Vasya Tara Arya Tara Mahatarri Tara Mahasri Tara Varada Tara Durgottarini Tara Dhanada Tara Jahguli Tara Parnasaban Tara Khadiravam Tara

In the Sadhansmala, Khadiravani Tara is depicted as being green and holding the Utasla on the left and the varada mudra on the right with two hands. She can be recognized by the presence of Asokakanta Marici and Ekajata. On her crown, she has Amoghaslddhi's image.

Vasya Tara The European style of sitting known as Bhadrasana is Vasyatara's signature pose. She is, however, described as being single, and as such she is not accompanied by any gods or goddesses. She is portrayed by the Khadiravani class accompanied by Taras.

Arya Tara This form of Tara is distinguished by the fact that she sits in the Ardhaparyahka posture and like Vasyatara she is completely alone. Vasyatara is said to have another name for Arya Tara. In the Ardhaparyahka posture, she is seated alone. She is green and has two arms.

Mahattari Tara Mahattari Tara is distinguished by the Vajraparyahka posture in which she sits, as well as by the fact that she is represented alone. Mahattari Tara is a green goddess.

Mahasri Tara Mahasri Tara is depicted as sitting on a golden throne that is covered in a variety of flowers. She has one face and two heads that are in the Vyakhyana Mudra. She wears ornaments and a crown with an image of Amoghasiddhi on it. Ekajata is seated in the ardhan pose and carries an angry face with a swelling abdomen. She holds the kartri and the kapala in her two arms and wears a dress made of tiger skin. Arya, jahguli is to the left of Mahasri Tara, Asokokanta, and Mahamayuri are to the right. Her green color comes from the Dhyani Buddha Amoghasiddhi.

Varada Tara Varada Tara sits in the Ardhaparyanka position like Aryatara however she can be effortlessly perceived by the presence of four goddesses Asokakanta Marici, Mahamauri, Ekajata, and Janguli.

Durgottarani Tara Durgottarini Tara has a green complexion, sits on a lotus, and wears white clothing. She has four arms, and the first pair of her hands are used to hold a noose and a goad. The second pair of her hands are used to show the Varada mudra and the lotus.

Dhanada Tara Wealth Granting Tara is another name for Dhanada tara. Her second right hand is holding a rosary, and her first right hand is making the ultimate gesture of generosity. Utpala and a book are held in her two left hands. She has an animal as her Vahana, is accompanied by eight goddesses named after the eight vowels in her mantra, and her crown features an image of Amoghasiddhi. She sits in the sattva posture and is adorned with jewels and silks. She is surrounded by eight other Taras of varying hues and appearances, in addition to the four guards at her palace's entrances.

Jahguli Tara Jahguli Tara can be yellow, white or green depending on where it comes from in Aksobhya. She carries the Trisula, the peacock's feathers and a snake in three of her hands when she is green, and she performs the Abhaya mudra with the fourth hand.

Parnasaban Tara Parnasaban comes in different forms and colors. Some of them are as follows:

Parnasaban (green parnasaban)

When Parnasaban is green, it is emitted by Amoghasiddhi.

Parnasaban (yellow parnasaban)

Aksobhya is represented by Parnasaban in its yellow form. Parnasaban is typically three-faced and six-armed, but may have four arms in rare cases. The green variety is unique in that all three faces depict irritated smiles.

[santoschristos]

Shakyamuni Buddha with Five Dhyani Buddha Thangka Art - Handpainted in Nepal. Five Dhyani Buddhas, popularly known as Pancha Buddha are five representatives of five different qualities of Shakyamuni Buddha. Pancha Buddhas are also known as Five Wisdom Tathagatas and are widely respected in Vajrayana Buddhism. In Sanskrit, they are known as the Five Conqueror, or Victor and are a common subjects in Vajrayana Buddhist tradition. These Five Buddhas represent five paradise in five different direction i.e. Central, East, West, North and South. In both Nepali Buddhism as well as Tibetan Buddhism, these Pancha Buddha are represented in different Buddha statues, Buddha images, paintings as well as Thangkas etc. The collection of Nepali Buddha statues must consists of a set of five Pancha Buddhas or it is considered incomplete. This state that how much important is the Pancha Buddhas are especially in Nepalese and Tibetan Buddhism.

Pancha Buddhas & Their Characteristics The following shows the importance and characteristics of Pancha Buddhas in the life of Buddhist people.

Vairochana Buddha Vairochana Buddha is considered as the supreme Buddha among Pancha Buddha. This Premordial Buddha represents the wisdom of Sunyata or essence of the Dharma realm meditation mudra. In Tibetan Buddhism, Pancha Buddha are drawn together in a mandala, it is always that Vairochana Buddha is in the center of Mandala. Vairochana Buddha statues are mostly depicted in white color and it is believed that if one meditate saying matra on Vairochana buddha, it helps to vanquish ingnorance. Vairocana Buddha Statues is quite popular among the Tibetan Buddha statues since the core of Jokhang temple is the Buddha image of Vairocana Buddha and Jokhang temple is one of the few important Buddhist pilgrimage sites in Tibet.

Ratnasambhava Buddha Ratnasambhava Buddha represents the South Skandha and is believed to reign over it just like other Buddha. Ratnasambhava Buddha statues is especially depicted in yellow color and represents richness. Ratnasambhava Buddha is shown in Varada Mudra, also known as Boon giving mudra, one of the different styles of Buddha statues. In Mandala, Ratnasambhava Budhda is shown facing South.

Amoghasiddhi Buddha As the Buddha reigning over North Skandha, Amoghasiddhi Buddha is believed to protect or destroy every ounce of envy or jealousy from the heart of people who meditate on Amoghasiddhi Buddha. Amoghasiddhi Buddha statues are depicted in green color holding double vajra. Since he is represented as the protector from envy, Amoghasiddhi Buddha is shown in Abhaya mudra.

Akshobhaya Buddha Among Pancha Buddhas, Akshobhaya Buddha is quite popular representations of Buddha. Akshobhaya Buddha is depicted in Blue color, holding vajra with left hand and touching the earth using earth touching Mudra. Akshobahaya Buddha is considered as the heavenly Buddha who reign over the eastern Paradise and represents the fifth Skandha. By meditating on the name of Akshobhaya Buddha, one can overcome any kind of anger as well as hatred.

Amitabha Buddha In many Asian countries, Amitabha Buddha of Pancha Buddha is greatly respected and followed by large number of Buddhist people as well as Buddhist monks. Amitabha Buddha is also the heavenly Buddha who reign over the Western Paradise and is represented in red Color, holding lotus which symbolizes gentle and pure. Amitabha Buddha stands in the center of Pure Land which is considered as heavenly place where one can be free from all cycles of life. Only who speaks or meditate on Amitabha Buddha can go to Pure Land according to Buddhist doctrines of Amitabha Buddha. Two major Bodhisattvas i.e. Avalokiteshvara and Mahasthamaprapta are depicted with Amitabha Buddha statues.

These Pancha Buddha are greatly respected by Nepali-tibetan Buddhist ethnicities. These five Buddhas of five different skandha shows the qualities of Living Buddha and depicted in form of crown known as Five Buddha Crown or Rig Nga in Tibetan Buddhism. One of the key features of Pancha Buddha statues is that the hand postures of each Pancha Buddha are not considered mudra if all five Buddha statues are not placed together.

[bm-asian-art]

Manuscript Cover with the Five Tathagatas, ca. 1200, Brooklyn Museum: Asian Art

Book cover elaborately carved in relief with red and gold polychromy on the inner surface, depicts the five tathagatas each in a chapel (caitya). Each tathagata is seated on a double lotus pedestal in a meditation pose with legs locked and soles of the feet turned upward. They are crowned and bejeweled with upper torso bare. The thrones of the tathagatas are supported by their vehicles and surmounted by horned Garudas clutching snakes in their hands and mouths. The deities are flanked on either side by rampant leogryphs riding on the backs of elephants below open mouthed makaras. Each throne is virtually identical but for the facial expressions of the Garudas. A classical scroll border surrounds the central field; the scroll issues from the mouth of the kiritimukha on the lower border and from a lotus flower on the upper border and the sides; repeated beaded borders. Twelve small holes along the top edge. The tathagatas wear the high triangular three pointed crown. The five tathagatas, or Dhyani Buddhas, and their animal vehicles are identified, as follows, from left to right: 1.Akshobhya with hands in the gesture of bhumisparsa mudra and two elephants; 2.Ratnasambhava, with hands in the gesture of varada mudra with two horses; 3.Vairocana, with hands in the gesture of dharmacakra mudra with two lions; 4.Amitabha with hands in dhyana (meditation) mudra, with two peacocks; 5.Amoghasiddhi with hands in the gesture of abhaya mudra with garudas, shown here as two kinnaras (mythical bird-human composite figures). At the ends, there are carved floral and animal designs. Arrived with its own metal stand. Size: 9 5/8 x 27 1/2 x 1 1/8 in. (24.4 x 69.9 x 2.9 cm) Medium: Wood, color, gold

https://www.brooklynmuseum.org/opencollection/objects/156892

[lamathanka]

Bhumisparsha translates into 'touching the earth'. It is more commonly known as the 'earth witness' mudra. This mudra, formed with all five fingers of the right hand extended to touch the ground, symbolizes the Buddha's enlightenment under the bodhi tree, when he summoned the earth goddess, Sthavara, to bear witness to his attainment of enlightenment. The right hand, placed upon the right knee in earth-pressing mudra, and complemented by the left hand-which is held flat in the lap in the dhyana mudra of meditation, symbolizes the union of method and wisdom, samasara and nirvana, and also the realizations of the conventional and ultimate truths. It is in this posture that Shakyamuni overcame the obstructions of Mara while meditating on Truth.

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#Shakyamuni #Buddha #meditation #dhyani #siddhartha #gautam #dhamma #sangha #enlightened #nirvana #bodhichitta #thankapainting #lamathankapaintingschool #thangka #himalayanart #bhumisparsha #mudra

[southasianhandicraftdotcom]

Sambhogkaya Representation

Vajradhara

Shakyamuni Buddha appeared in the world with the sole purpose of helping all sentient beings. Lord Buddha revealed many different means/paths to enlightenment out of great compassion and set forth three wheels of law to suit varying degrees of intelligence and receptivities.

It is said that Shakyamuni Buddha himself was in the form of Vajradhara while he was teaching the Tantric path to his gifted disciples. Vajradhara is depicted holding a Vajra and a bell in his left hand. Vajradhara arms are kept crossed in front of him expressing complete integration of prajna and Upaya. He is usually depicted in blue colour in Vajraparyanka posture. He has a crown, an Urna and an Ushnisha as of a Sambhogakaya Buddha.

Vajradhara is also depicted in the father-mother aspect. Then he holds his usual symbols while his arms are crossed at the back of his consort. The consort is non-other than Prajnaparamita in deified form. The Kargyudpa lineage of Tibetan Buddhism begins with the Buddha Vajradhara. The individual in this tradition is allowed to visualize his root Guru as Buddha Vajradhara. Guru Tilopa is said to have received Mahamudra Instruction directly from Buddha Vajradhara through visions and other extraordinary means.

In Nispannayogavali, Vajradhara is the main deity in Vajraattvamandala. He is three-faced, six-armed and reddish-white. His right arm holds a Vajra, a sword and a Kapala and his left hand hold a bell, an Ankush and a noose. He stands in the Ardhaparyanka posture and dances in Tandava style.

Vajrasattva

Vajrasattva is also regarded as Adi-Buddha by Nepalese Vajracharyas who follows Vajrayana tradition according to the text Shakyamuni Buddha Vajrasattvakaya. His body is white with one face and two hands. His right-hand holds a five prolonged golden Vajra at his heart. His left-hand holds a silver bell at his side. He sits in the Vajraparyanka posture earing precious silks and ornaments with jewel diadem. His body is adorned with 32 major and 80 minor marks of a Sambhogakaya and emits a clear limitless light. It appears to lack all notion of substantiality, like the reflection of the moon in the water.

Vajrasattva has a father-mother aspect too. Generally, this form is not exhibited in open. It is shown only to those who are initiated in the highest yoga tantra. His form is the same as in the single one but his consort carries a kartri in her right hand and a kapala in her left hand.

Vajrasattva is said to have been originated from seed syllable hum and is generally invoked from the removal of obscuration of Kleshavarana and Jneyavarana. His hundred syllable mantra is very efficacious in purifying our defilements through confession practice. It is said if confession is done with the four opponent powers, then non-virtuous actions or obscurations will be purified. The first opponent power is the force of reliance. This means looking upon the visualised image of Vajrasattva as the embodiment of one’s refuge. The second opponent power is the sincere regret for the non-virtuous action done by oneself. The third opponent power is desisting from evil deeds. The fourth opponent power is to apply the power of good deeds and especially regarding this case practising the meditation and recitation of Vajrasattva without parting from Bodhicitta while remaining in the state of emptiness. Vajrasattva is a very popular guardian deity for Nepalese Vajracharyas. He is worshipped very often by Nepalese Buddhist through the Gurumandala ritual.

Vairocana Buddha

Vairocana Buddha is one of the Five Tathagatas symbolizing all-pervasive wisdom (Skt. Suvisuddha Dharma dhatu jnana) i.e. knowledge free from all kind of Obscuration. He is placed generally in the sanctum of the Stupa. Sometimes he is placed between Akshobhya and Ratna Sambhava in the stupa. He resides always in the Akanistha Heaven.

He is white and his hands are held against the chest with the tips of the thumb and forefinger of each hand joined displaying Bodhyanga Mudra. His vehicle is a pair of lions symbolizing the lion's roar of dharmadhatujnana which terrifies all wrong views.

Vairocana Buddha originates from the seed syllable OM placed on the orb of the moon. He also represents Rupa (form) of five aggregates. He is not a historical Buddha-like Shakyamuni Buddha. According to the Dharmalakshana sect of Mahayana Buddhism. He is considered to be Svabhavika-Kaya of Shakyamuni Buddha. In some esoteric sect of japan, he is said to be the supreme lord of secret vehicle. I.e Mahavairocana.

When Vairocana Buddha is four-faced and eight-armed. He is addressed as Vajradhatu Buddha. According to Vajradhatumandala of Nispannayogavali, Vairocana is seated in Vajraparyanka and white. His four faces are of white, yellow, red, and green colour. He is eight-armed with his hands holding a vajra and displaying dharma chakra mudra, the second pair shows dhyana mudra, the third holds a rosary and an arrow and the last pair holds a discus and a bow.

Akshobhya Buddha

He is also one of the five Tathagatas symbolizing Mirror-like Wisdom (Skt. Adarsa Jnana) which means wisdom like space, all-pervasive, without periphery and characteristics. He is the essence of a purified form of hatred. As in a mirror, every visible object reflects so the knowledge of dharmakaya reflects in our mind. The image of Akshobhya Buddha is generally placed in the east in the stupa. It is blue. He exhibits an earth-touching gesture (Bhumisparsa mudra). He rides on the throne of an elephant symbolizing the steadfast nature of his bodhisattva vows. In the past when Akshobhaya Buddha was a bodhisattva he made strong vows in front of Buddha Mahacakshu.

a) I now engender supreme bodhicitta. If I bear malice against sentient beings from now until attainment of supreme enlightenment I will be disobeying all the Buddhas.

b) Now I have resolved to pursue all-knowing wisdom and firmly dedicated to this goal. If I generate any doubt, intention to kill or steal, my wrong view or impure deed or if I am prone to lying, duplicity or harsh language or if I hurt other ways from now on until I attain supreme enlightenment, I will be deceiving Buddhas.

When he thus first brought forth bodhicitta, this bodhisattva-mahaattva clad the armour of vigour, and never moved by hatred or the like toward any sentient being. Since then, because of his thought Bodhisattva was called Akshobhaya, the immovable of the land of Abhirati.

In other words, Akshobhaya attained Buddhahood under the tree of even jewels in the land of Abhirati I.e wonderful joy in the east. Because of the power of the vows, there is no lower realm in his buddha land. Every sentient being, in his buddha land, deed virtuous deeds and restrain from angry behaviours. According to the Ratnakuta sutra, if one determines to practice the bodhisattva way of life as he vows he will be reborn in that Abhirati Buddhaland. It is said that the famous Upasaka Vimalakirti is the person transformed from the land of Abhirati Buddhaland.

Ratna Sambhava Buddha

Ratna Sambhava Buddha is one of five Tathagata symbolizing wisdom of equality (Skt. Samatajnana). According to the commentary of Namasangiti, the author Ravisri says;

"All the phenomena are devoid of essence, lacks true inherent existence and hence is a dream-like or illusion or is empty”. Thus the knowledge of the essencelessness of a person and the phenomena is the wisdom of equality. Buddha Ratna sambhava is the personification of this wisdom is Vajrayana Buddhism.

In the extant literature, he is rarely described his vows, aspirations and activity. He is usually called the Buddha born from a jewel. He is yellow, belongs to the Buddha family of a jewel, placed in the stupa facing to the south. He shows varada mudra with his right hand and holds cintamani jewel in his left hand kept on his lap. He also represents the purified form of the defilement pride, rides on the horse throne symbolising that he ferries over the suffering sentient being with full vigour. He resides in the pure abode of Ratnavati heaven (Buddha-field).

It is said that when Ratna Sambhava Buddha attained enlightenment golden coloured rays emitted from his crown and manifested limitless golden coloured bodhisattvas each one of them carrying a jewelled sceptre emitting light shinning on the southern world which were numerous as the sands of the Ganges.

It is said that the sentient beings’ wish would be fulfilled when one sees the golden coloured light. It is also said that by meditating on Ratna Sambhava Buddha’s body, one’s desire would be fulfilled.

Amitabha Buddha

Amitabha Buddha is also one of the five tathagata representing the wisdom of discriminating awareness. When discriminating wisdom dawns on us we realise non-production or non-origination of all things. He also represents a purified form of desire. Amitabha Buddha is red and represented in the stupa facing to the west. He rides on a peacock symbolizing that he can take away the suffering of others just as the peacock eats poisonous plants and yet his tail shines forth.

Amitabha Buddha is assisted by two bodhisattvas viz. Avalokiteshvara and Mahasthamprapta.

When Amitabha Buddha was a bodhisattva he was called Bhikshu Dharmakara. He made 48 vows to establish an adorned land of unlimited bliss to ferry over those living beings who recite his name. Based on those vows, any living being who has faith, makes vows and practices diligently will be received by this Buddha and reborn in the pure land of unlimited bliss.

Amitabha Buddha presides over the Bhadrakalpa i.e fortunate aeon. He always exhibits Dhyani Mudra. He belongs to the lotus family and originated from the seed syllable Hash. He can be recognised through the symbol of the lotus. This buddha has ferried over innumerable sentient beings with his extensive vows and great compassion. Devotees recite very often the prayer to be reborn in the land of Amitabha Buddha in China, Japan, and Tibet too.

Amogh Siddhi Buddha

Amogh Siddhi Buddha is the last among the five Buddhas. He represents all accomplishing Wisdom and purified form of jealousy. When one realises all accomplishing wisdom one can perform all the Buddha Activity without pre-meditation. This happens spontaneously. Amoghsiddhi Buddha is green in colour, represented in the stupa facing to the north. He rides on Garuda symbolising that he can detect the presence of serpent-like delusion from a distance and a serpent with seven hoods and an umbrella is depicted in the background. He exhibits abhayamudra showing that following the bodhisattva path is gained.

The vows, activity and deed of Amogh Siddhi Buddha are not extant in Mahayana Buddhist literature like Ratna Sambhava Buddha. It is however said that cultivators relying on this Buddha’s protection will achieve accomplishments in Buddhist affairs and worldly matters and will perfect the work benefiting the sentient beings.

Amogh Siddhi Buddha alone has a canopy of snakes over his head and sometimes resembles Shakyamuni Buddha with nine-headed Naga King Mucalinda in paintings. According to tantric text, this Buddha is said to be originated from the seed syllable green kham. He is also said to be the embodiment of volition (Skt. Sanskara) and Air element.

Bhaisajyaguru Vaiduryaprbha Tathagata (Medicine Buddha)

Bhaisajyaguru Vaiduryaprbha Tathagata is also called Healing Buddha or Medicine Buddha. He can cure the sickness of birth and death. His body is bright like lapislazuli. He resides in the eastern world of purified lapislazuli and assisted by two bodhisattvas called Suryaprabha and Candraprabha, to transform and teach living beings in that land.

The usual colour Bhaisajyaguru Vaiduryaprbha Tathagata was blue or lapislazuli in colour. But he had also a golden colour. His right hand held a branch of the myrobalan in varadamudra gesture. His left hand is in the lap holding a pindapatra (alms bowl).

The blue or lapislazuli colour of this body symbolises that he takes all the disease and sickness of the suffering beings unto himself. The palm myrobalan signifies the medicine which heals all the sickness of sentient beings.

According to the Bhaisajyaguru Buddha sutra, he made 12 great vows before he attained Buddhahood. The important vows are as follows: to eliminate sickness from all living beings and make them feel easy and happy to attain Buddhahood and to liberate beings from disasters and calamities. It is said that the land of Bhaisajya Buddha is genuinely pure. In that land, the ground is paved with purified lapislazuli. The cities, buildings and palaces are made of seven jewels. In that land the sentient beings do not commit any evil deeds hence there is no lower realm. It can well be compared with Sukhavati Heaven of Buddha Amitabha.

In Tibetan medical tradition Bhaisajya Buddha is said to be the source of all medical treatises. This Buddha is invoked for eliminating disasters and sickness of all varieties.

Amitayus or Buddha Aparimita

Amitayus (Buddha Aparimita) is very popular is bestowing long life upon the devotees. He is red. His two hands are in dhyana mudra and hold an ambrosia vase (Skt. Amrit Kalasha). He usually wears all the ornaments of a different kind peculiar to a Sambhogakaya Buddha. He is never depicted with any consort. He wears a crown and has Ushnisha and Urnakosh in his body.

Buddha Aparimita is invoked or worshipped for lengthening the life span or fast relief from dreadful diseases or mortal danger. In the Nepalese Mahayana tradition, the dharani of Amitayus or Buddha Aparimita is often recited by the devotees in the presence of dying patients. The recitation of this dharani is said to be efficacious when carried out in utter sincerity. It is said that the famous Madhayamika Buddhist philosopher Arya Nagarjuna had escaped his early death after the recitation of this dharani one complete day and night.

Buddha Durgatiparisodhanaraja

Buddha Shakyamuni when he entered into a special type of samadhi called Sarvadurgatiparisodhana i.e. elimination of all evil destinies, is called Buddha Durgatiparisodhanaraja. There are many paintings of this deity in Nepal although this sculpture is very rare.

Buddha Durgatiparisodhanaraja is yellow, exhibits Dharmacakramudra and has one face and two arms only. Buddha Durgatiparisodhanaraja is described in the Durgatisodhana mandala of Nispannayogavail. His dharani is very popular among Nepalese Buddhists and is very often recited in front of a dead body or funeral ceremonies. Durgatiparisodhanaraja can liberate beings from the hell. Devaraja Indra requested Buddha Shakyamuni to liberate deva Vimalamaniprabha who was reborn in Avici Hell. Buddha Shakyamuni delivered the dharani of Durgatiparisodhanaraja out of compassion and he was liberated.