Garuda – King of Birds

Garuda – King of Birds

The Garuda is a large bird or bird like mythical creature that appears in both Hindu and Buddhist mythology. He is the Hindu name for the constellation Aquila and the Brahminy kite and Phoenix are considered to be the contemporary representations of Garuda. Indonesia adopts a more stylistic approach to the Garuda’s depiction as its national symbol, where it depicts a Javanese eagle.

 

Garuda is the king of birds. Its name derives from the root Gri, to swallow: he devours the snakes. He is represented with a human upper body, big eyes, beak, short blue horns, yellow hair standing on ed, bird’s claws and wings. However, sometimes, mainly in Hindu iconography, he is represented in human form with wings. He is very big bird and comes out of the egg fully grown. Garuda symbolizes the space element and the power of the sun, which can dry up the waters. Therefore, he is the natural enemy of snakes and he devours or controls them. He represents the spiritual energy of which devours the delusions of jealousy and hatred, which are represented by the snake. He is also the openness: he can stretch out his wings and soar into space. He represents the great freedom of the mind which can open and is not uptied by confliction emotions the wise mind which reaches everywhere, like the rays of the sun, and brings about the growth of life and wisdom. Specifically, in Buddhism Garuda is related of the perfection of gibing Dana parmita, just as the rays of the sun give life to the earth.

 

The myth of the great bird devouring the snake seems to have originated in Mesopotamia. The snake represents the subconscious or hidden aspects of the mind, those feelings and thoughts which crawl underneath the surface. He can perceive any tiny snake and instantly fall upon in. Similarly, by practicing awareness of all our feelings, thoughts and actions we can develop the wisdom which can perceive perfectly the workings of our mind and in that way, we can achieve complete freedom to act utilizing out of mind in the most beneficial way.

 

In Hindu Iconography he is the vehicle of Vishnu. In Buddhism, he is the vehicle of Amoghasiddhi. The Buddha who embodies the all accomplishing wisdom. He is also the vehicle of a from Lokeshvara Hariharihar vahana. He is also a deity of his own who is supposed to cure snakebite, epilepsy and diseases caused by Nagas. An image of Garuda is found in the toranas, the semicircular tympanum above the temple doors.

 

The emerald, also called Garuda stone is considered a protection against poison and Garuda images appear in jewelry as a protection against snake bite.

Garuda Ghau Pendant Prayer Box
Garuda Ghau Pendant Prayer Box

In Hinduism:

In Hindu religion; he is Hindu divinity, usually the mount(vahana) of the God Vishnu. He is depicted as having the golden body of a strong man with a white face, red wings and an eagle’s beak and with a crown on his head. The ancient deity was said to be massive, large enough to block out the sun.

 

Garuda is known as the eternal sworn enemy of the Naga serpent race and known for feeding exclusively on snakes, such behavior may have referred to the actual short-toed Eagle of India. The image of Garuda is often used as the charm or amulet to protect the bear from snake attack and its poison, since the king of birds is an implacable enemy and “devourer of serpent”. Garudi Vidya is the Mantra against snake poison to remove all kinds of evil.

 

His stature in Hindu religion can be gauged by the fact that an independent Upanishad, the Garudopanishad, and a Purana, is devoted to him. Various names have been attributed to Garuda-Chirada, Gaganeshvara, Kamayusha, Kashyapi, Khageshvara, Nagantaka, Sitanana, Sudhahara, Suparna, Tarkshya, Vainateya, Vishnuratha and others. The Vedas provide the earliest reference of Garuda, though by the name of Syena, where this mighty bird is said to have brought nectar to earth from heaven. The Puranas, which came into existence much later, mention him as doing the name thing, which indicates that Syena (Sanskrit for eagle) and Garuda are the same. One of the faces of Sri Panchamukha Hanuman is Mahavira Garuda. This face points towards the west. Worship of Garuda is believed to remove the effects of poisons from one’s body. In Tamil Vaishnavism Garuda and Hanuman are known as “Periya Thiruvadi” and “Siriya Thiruvadi” respectively.

 

In the Bhagavad-Gita (Ch.10, Verse30), in the middle of the battlefield “Kurukshetra”, Krishna explaining his omnipresence, says – “as son of Vinata, I am in the form of Garuda, the king of the bird community (Garuda)” indicating the importance of Garuda.

 

He wears the serpent Adisesha on his left wrist and the serpant Gulika on his right wrist. The serpent Vasuki forms his sacred thread. The cobra Takshaka forms his belt on his hip. The snake Karkotaka is worn as his necklace. The snakes Padma and Mahapadma are his ear rings. The snake Shankachuda adorns his divine hair. He is flanked by his tow wives ‘Rudra’ and ‘Sukeerthi’ or Sukirthi. These are all invoked in Vedanta Desika’s Garuda Panchashath and Garuda Dndaka compositions. Garuda flanked with his consorts ‘Rudra’ and ‘Sukirthi’ can be seen worshiped in an ancient Soumya Keshava temple in Bindiganavile (or Mayura puri in Sanskrit) in Karnataka state of India.

 

Garuda Vyuha is worshiped in Tantra for Abhichara and to protect against Abhichara. However, the interesting thing is that he is the Sankarshna form of the lord who during creation primarily possesses the knowledge aspect of the lord (among Vasudeva, Sanskarshana, Pradyumna and Aniruddha forms). The important point is that he represents the five vayus with us: prana, vyana, Udana, samana, brahmana through his five forms satya, Suparna, Garuda, Tarkshya, Vihageshwara. These five vayus through yoga can be controlled through Pranayama which can lead to Kundalini Awakening leading to higher levels of consciousness. He plays an important role in Krishna Avatar in which Krishna and Satyabhama ride on Garuda to kill Narakasura. On another occasion, lord Hari rides on Garuda to save the devotee elephant. It is also said that Garuda’s wings when flying will chant the Vedas.

 

In the Mahabharata

Birth and deeds

The story of Garuda’s birth and deeds is told in the first book of the great epic Mahabharata. According to the epic, when he first burst forth from his egg, he appeared as a raging inferno equal to the cosmic conflagration that consumes the world at the end of every age. Frightened, the Gods begged him for mercy. Garuda, hearing their plea, reduced himself in size and energy.

 

Garuda’s father was the creator-rishi Kasyapa. He had two wives, Vinata and Kadru, who were daughters of Prajapathi Daksha, on the pleadings of his wives, granted them their wishes; Vinata wished for two sons and Kadru wished for thousand snakes as her sons. Both laid eggs, while the thousand eggs of Kadru hatched early (after steaming the eggs to hatch) into snakes, the hatching of two eggs of Vinata did not take place for a long time. Impatient, Vinata broke open one egg, which was half formed with the upper half only as a human and was thus deformed. Her half formed son cursed her that she would be slave for her sister (she was her rival) for a long time by which time her second son would be born who would save her from his curse; her first son who flew away and came to prominence as Aruna, the red spectacle seen as the sun rises in the morning, and as also charioteer of the sun. The second egg hatched after a long time during which period Vinata was the servant of her sister as she had lost a bet with her. When the second egg hatched, a fully grown, shining and of mighty sized bird emerged as Garuda, the king of birds. He was thus born.

 

One day, Vinata entered into and lost a foolish bet, as a result of which she became enslaved to her sister. Resolving to release his mother from this state of bondage, Garuda approached the serpents and asked them what it would take to purchase her freedom. Their reply was that Garuda would have to bring them the elixir of immortality, also called amrita. It was a tail order. The amrita at that time found itself in the possession of the Gods, who guarded it jealously, since it was source of their immortality. The had ringed the elixir with a massive fire that covered the sky. They had blocked the way to the elixir with a fierce mechanical contraption of sharp rotating blades. And finally, they had stationed two gigantic poisonous snakes next to the elixir as deadly guardians.

 

Undaunted, Garuda hastened toward the abode of the Gods intent on robbing them of their treasure. Knowing of his design, the Gods met him in full battle-array. He, however, defeated the entire host and scattered them in all directions. Taking the water of many rivers into his mouth, he extinguished the protective fire the Gods had thrown up. Reducing his size, he crept past the rotating blades of their murderous machine. And finally, he mangled the two gigantic serpents they had posted as guards. Taking the elixir into his mouth without swallowing it, he launched again into the air and headed toward the eagerly waiting serpents. On route, he encountered Vinshu, rather than fight, the two exchanged promises. Vishnu promised him the gift of immortality even without drinking from the elixir, and he promised to become Vishnu’s mount (vahan). Flying onward, he met Indra the God of the sky. Another exchange of promises occurred. He promised that once he had delivered the elixir, thus fulfilling the request of the serpents, he would make it possible for the Indra to regain possession of the elixir and to take it back to the Gods. Indra in turn promised him the serpents as food.

 

At long last, Garuda alighted in front of the waiting serpents. Placing the elixir on the grass, and thereby liberating his mother Vinata from her servitude, he urged the serpents to perform their religious ablutions before consuming it. As they hurried off to do so, Indra swooped in to make off with the elixir. The serpents came back from their ablutions and saw the elixir gone but with small droplets of it on the grass. They tried to lick the droplets and thereby split their tongues in two. From then onward, serpents have split tongues and shed their skin as a kind of immortality.

 

From that day onward, he was the alloy of the Gods and the trusty mount (vahana) of Vishnu, as well as the implacable enemy of snakes, upon whom he preyed at every opportunity.

 

Descendants

 

According to the Mahabharata, Garuda had six sons from whom were descended the race of birds. The members of this race were of great might and without compassion, subsisting as they did on their relatives the snakes. Vishnu was their protector.

 

As a symbol

Throughout the Mahabharata, he is invoked as a symbol of impetuous violent force, of speed, and of martial prowess. Powerful warriors advancing rapidly on doomed foes are likened to Garuda swooping down on a serpent. Defeated warriors are like snakes beaten down by Garuda. The field marshal Drona uses a military named after Garuda. Krishna even carries the image of Garuda on his banner.

In Buddhism

In Buddhist mythology, the Garuda are enormous predatory birds with intelligence and social organization. Another name for the Garuda is Suparna, meaning “well-winged, having good wings”. Like the Naga, they combine the characteristics of animals and diving beings, and may be considered to be among the lowest Devas.

 

The exact size of the Garuda is uncertain, but its wings are said to have a span of many miles. This may be a poetic exaggeration, but it is also said that when a Garuda’s wings flap, they create hurricane-like winds that darken the sky and blow down houses. A human being is so small compared to a Garuda that a man can hide in the plumage of one without being noticed. They are also capable of tearing up entire banyan trees from their roots and carrying them off. Garudas are the great golden-winged Peng birds. They also have the ability to grow large or small, and to appear and disappear at will. Their wingspan is 330 yojanas (one yojana being 40 miles long). With one flap of its wings, a Peng bird dries up the waters of the sea so that it can bobble up all the exposed Dragons. With another flap of its wings, it can level the mountains by moving them into the ocean.

 

There were also the four Garuda-kings: Great-Power-Virtue Garuda-King, Great-Body Garuda-King, Great-Fulfillment Garuda-King and Free-At-Will Garuda-King, each accompanied by hundreds of thousands of attendants.

 

The Garudas have kings and cities, and at least some of them have the magical power of changing into human form when they have dealings with people. On some occasions Garuda kings have had romances with human women in this form. Their dwellings are in groves of the simbali, or silk-cotton tree.

 

The Garudas are enemies to the Nagas, a race of intelligent serpent or dragon like beings, whom they hunt. The Garudas at one time caught the Nagas by seizing them by their heads; but the Nagas learned that by swallowing large stones, they could make themselves too heavy to be carried by the Garudas, wearing them out and killing from exhaustion. This secret was divulged to one of the Garudas by the Ascetic Karambiya, who taught him how to seize a Naga by the tail and force him to vomit up the stones inside.

 

The Garudas were among the beings appointed by Sakra to guard Mount Sumeru and the Traystrimsa Heaven from the attacks of the Asuras.

 

In the Mahasamyatta Sutta, the Buddha is shown making temporary peace between the Garudas and Nagas.

 

The Thai rendering of the Krut (Garuda) as Vishnu vehicle and Garuda’s quest for elixir was based on Indian legend of Garuda. It was told that Garuda overcame many heavenly beings in order to gain the ambrosia (amrita) elixir. No one was able to get the better of him, not even Narai (Vishnu). At last, a truce was called and an agreement was made to settle the rancor and smooth all the ruffled feathers. It was agreed that when Narai is in his heavenly palace, Garuda will be positioned in a superior status, atop the pillar above Narai’s residence. However, whenever Narai wants to travel anywhere, Garuda must serve as his transport.

 

The Sanskrit word Garuda has been borrowed and modified in the languages of several countries. In Burmese, Garudas are called galone. In Burmese Astrology, the vehicle of the Sunday planet is the galone. In the Kapampangan Language of the Philippines, the native word for eagle is Galura. In Japanese a Garuda is called Karura (however, the from Garuda is used in recent Japanese fiction).

 

For the Mongols, the Garuda is called Khan Garuda or Khangarid. Before and after each round of Mongolian wrestling, wrestlers perform the Garuda Ritual, a stylized imitation of the Khangarid and a hawk.

 

In the Qing Dynasty fiction, the story of Yue Fei (1684), he sites at the head of the Buddha’s throne. But when a celestial bat (an embodiment of the Aquarius constellation) flatulates during the Buddha’s expounding of the Lotus Sutra, Garuda kills her and is exiled from paradise. He is later reborn as Song Dynasty General Yue Fei. The bat is reborn as Lady Wang, wife of the traitor Prime Minister Qin Hui, and is instrumental in formulating the “Eastern Window” plot that leads to Yue’s eventual political execution. It is interesting to note the story of Yue Fei plays on the legendary animosity between Garuda and the Nagas when the celestial bird-born Yue Fei defeats a magic serpent who transforms into the unearthly spear he uses throughout his military career. Literary critic C.T. Hsia explains the reason whey Qian Cai, the book’s author, linked Yue with Garuda is because of the homology in their Chinese names. Yue Fei’s style name is Great Peng, the Golden-Winged Illumination King.

 

Chhepu – The Mythical Creature

Chhepu – The Mythical Creature

Chhepu is one among the three brothers Garuda, Chhepu and Hiti Manga. It is told that once the mother of these brothers, requested her husband to give birth of such a son who would be the bravest, most truthful and entitled with all superior marks. Her husband told her to wait for a certain period. She being impatience to wait for a long period, looked the nest whether he was born or not. She found Chhepu in a prematured condition only with formation of head.

Chhepu Ghau Pendant Prayer Box
Chhepu Ghau Pendant Prayer Box

Chhepu is depicted in his wrathful appearance devouring showing only half of Chhepu’s body and devouring Naga(snake).

 

It is also told that Chhepu disappeared from the world as he did not want to see the kaliyuga, the great yuga, when the evil would completely triumphant over the good and the world would be destroyed by Vishnu in his incarnation as kalki, the destroyer. Knowing his bravery, truthfulness and entitled with all the superior marks Manjushree wanted to see him and requested him to show his full form. He appeared slowly amidst the cloud. Manjushree, as an veteran artist, immediately drew his form by his foot secretly without the knowledge of Chhepu. When Manjushree could finish to draw his head only he came to know Manjushree’s deception and immediately disappeared. Due to his bravery, truthfulness and all superior marks, he was given the place at the top of the main entrance of the shrines for the protection from all the dangers. Nagas(serpents) are the food of Chhepu.

 

Along the stories of Manjushree, comes an interesting and fascinating story attached to Chhepu – The Mythical Creature:

Long time ago, the Kathmandu Valley was only a huge lake inhabited by the countless number of aquatic animals. The majority of them were the Nagas (serpents). So this valley was also known as Naga Daha, meaning the “Home of the Serpents’.

 

One day Manjushree Bodhisattva (a Buddhist god from China) came to visit this valley. He liked the valley. He liked the valley so much that he wanted to make a beautiful town out of it . With this intention he immediately cut through the southern hill of the valley with one stroke of this his legendary sword (Chandrahara) and drained off the water. This compelled all the inhabitants of the lake to leave, as they could not do anything against the almighty Manjushree. But a creature called Chhepu stayed put. When by his yogic power Manjushree sensed that there was someone still hidden somewhere under the remnant of the lake, he commanded the latter to leave the water instantly. He was terrified when he saw that he could not go against the power of Manjushree. So, he said he would leave the lake if Manjushree would promise not to look at his horrible feature when he moved out of the lake. According to the promise, Manjushree closed his eyes and Chhepu prepared to come out of the water. As the fear-stricken creature pushed half of his ugly body above the surface, Manjushree could not help but open eyes stealthily, out of curiosity. When Chhepu saw Manjushree open his eyes, he got so upset that he quickly dived back deep under the water to hide himself again. Manjushree, ashamed of breaking his promise, soon negotiated with Chhepu assuring him that he would never bother again to seen by anyone). He also promised that he would allow him to occupy a very significant place in the holy temples of Nepal (he was going to build up soon in the valley) and remain there half-hidden forever.

 

This story seems to explain a lot about our architectural tradition of showing only half of Chhepu’s body above the tympanums of the temple doorways. Whether this mythical story contains any grain of truth or not matters the least. What counts in the cultural value it reflects and the artistic fascination it leaves for one and all to understand and appreciate.

 

Chhepu Ghau / Pendant / Prayer Box

Ghau / Pendant / Prayer Box

Chhepu Ghau / Pendant / Prayer Box: Ghau is a small prayer box worn as pendant by Buddhists as portable shrines where prayers and sacred relics are kept and used during their travel to hold their sacred deity inside. Now, Ghau or Prayer Box pendants are often used as jewelry or personal adornment. They are used to carry prayers or prayer concerns or photos, poems, small items, or memories. Ghau pendants can carry your prayers near to your heart throughout the day. They are jewelry that has a history. The Ghau opens to a concealed inner space, and is traditionally used by Tibetan Buddhists to hold a picture of their favorite deity or Lama, a folded-up scroll of sacred mantras, special herbs or sacred relics. The Ghau is used as an amulet to help the wearer to ward off negative energy and attract blessings. A Ghau is also used as a portable shrine and are worn on a cord around the neck and hung close to the heart.

Chhepu Ghau / Pendant / Prayer Box
Chhepu Ghau Pendant Prayer Box

These Ghaus are mostly made of silver like Chhepu Ghau / Pendant / Prayer Box; however, the artisans also use copper, brass, gold and other metals. Ghau often have intricate designs of deity, auspicious symbols and mantras inscribed on their outer and inner surface Ghau is often decorated by precious or semi-precious gemstones which have various healing effects on the wearer. Turquoise, considered by many as a master healing stone, Lapis Lazuli and Coral are especially popular in Ghau or  Prayer Box design for their beauty and healing properties. Other gemstones used by the craftsman include: amber, carnelian, amethyst, malachite, onyx and topaz.

Chhepu Ghau / Pendant / Prayer Box
Chhepu & Green Tara Silver Ghau Pendant Prayer Box

About this Chhepu Ghau / Pendant / Prayer Box – Ritual Item

This excellent Chhepu Ghau / Pendant / Prayer Box is entirely a hand carved piece; made from Silver which has fine intricate filigree hand carvings known as siko carvings in local term and is submitted to a gold plating effect to yield a rich and sensuous finish and besides the decoration of Coral, Turquoise, Conch Shell, Lapis, Ruby and Emerald stones make this Silver Ghau or Prayer Box a stunning piece of art which is entirely a hand craft. This beautiful Chhepu Ghau / Pendant / Prayer Box is hand made by the master artisans of Patan, which lies in the Himalayan Kingdom of Nepal; who have been in the business from generations.

 

Garuda Ghau / Pendant / Prayer Box

Ghau / Pendant / Prayer Box

Garuda Ghau / Pendant / Prayer Box: Ghau is a small prayer box worn as pendant by Buddhists as portable shrines where prayers and sacred relics are kept and used during their travel to hold their sacred deity inside. Now, Ghau or Prayer Box pendants are often used as jewelry or personal adornment. They are used to carry prayers or prayer concerns or photos, poems, small items, or memories. Ghau pendants can carry your prayers near to your heart throughout the day. They are jewelry that has a history. The Ghau opens to a concealed inner space, and is traditionally used by Tibetan Buddhists to hold a picture of their favorite deity or Lama, a folded-up scroll of sacred mantras, special herbs or sacred relics. The Ghau is used as an amulet to help the wearer to ward off negative energy and attract blessings. A Ghau are also used as a portable shrine and are worn on a cord around the neck and hung close to the heart.

Garuda Ghau / Pendant / Prayer Box
Garuda Ghau / Pendant / Prayer Box

These Ghaus are mostly made of silver like this Garuda Ghau / Pendant / Prayer Box; however, the artisans also use copper, brass, gold and other metals. Ghau often have intricate designs of deity, auspicious symbols and mantras inscribed on their outer and inner surface Ghau is often decorated by precious or semi-precious gemstones which have various healing effects on the wearer. Turquoise, considered by many as a master healing stone, Lapis Lazuli and Coral are especially popular in Ghau or Prayer Box design for their beauty and healing properties. Other gemstones used by the craftsman include: amber, carnelian, amethyst, malachite, onyx and topaz.

Garuda Ghau / Pendant / Prayer Box
Garuda Ghau / Pendant / Prayer Box

About this Garuda Ghau / Pendant / Prayer Box – Ritual Item

This excellent Garuda Ghau / Pendant / Prayer Box is entirely a hand carved piece; made from Silver which has fine intricate filigree hand carvings known as siko carvings in local term and is submitted to a gold plating effect to yield a rich and sensuous finish and besides the decoration of Coral, Turquoise, Lapis, Ruby and Emerald stones make this Silver Ghau or Prayer Box a stunning piece of art which is entirely a hand craft. This beautiful Garuda Ghau / Pendant / Prayer Box is hand made by the master artisans of Patan, which lies in the Himalayan Kingdom of Nepal; who have been in the business from generations.

 

Black Mahakala Ghau / Pendant / Prayer Box

Black Mahakala Ghau / Pendant / Prayer Box

Black Mahakala Ghau / Pendant / Prayer Box: Ghau is a small prayer box worn as pendant by Buddhists as portable shrines where prayers and sacred relics are kept and used during their travel to hold their sacred deity inside. Now, Ghau or Prayer Box pendants are often used as jewelry or personal adornment. They are used to carry prayers or prayer concerns or photos, poems, small items, or memories. Ghau pendants can carry your prayers near to your heart throughout the day. They are jewelry that has a history. The Ghau opens to a concealed inner space, and is traditionally used by Tibetan Buddhists to hold a picture of their favorite deity or Lama, a folded-up scroll of sacred mantras, special herbs or sacred relics. The Ghau is used as an amulet to help the wearer to ward off negative energy and attract blessings. A Ghau are also used as a portable shrine and are worn on a cord around the neck and hung close to the heart.

Black Mahakala Ghau / Pendant / Prayer Box
Black Mahakala Ghau / Pendant / Prayer Box

The Ghau is mostly made of silver like Black Mahakala Ghau / Pendant / Prayer Box; however, the artisans also use copper, brass, gold and other metals. Ghau often have intricate designs of deity, auspicious symbols and mantras inscribed on their outer and inner surface Ghau is often decorated by precious or semi-precious gemstones which have various healing effects on the wearer. Turquoise, considered by many as a master healing stone, Lapis Lazuli and Coral are especially popular in Ghau or Prayer Box design for their beauty and healing properties. Other gemstones used by the craftsman include: amber, carnelian, amethyst, malachite, onyx and topaz.

Black Mahakala Ghau & Green Tara Pendant Prayer Box
Black Mahakala Ghau & Green Tara Pendant Prayer Box

 

About this Black Mahakala Ghau / Pendant / Prayer Box – Ritual item

This excellent Black Mahakala Ghau / Pendant / Prayer Box is entirely a hand carved piece; made from Silver which has fine intricate filigree hand carvings known as siko carvings in local term and is submitted to a gold plating effect to yield a rich and sensuous finish and besides the decoration of Lapis, Turquoise, Coral, Conch Shell, Ruby and Emerald stones make this Silver Ghau or Prayer Box a stunning piece of art which is entirely a hand craft. This beautiful Black Mahakala Ghau / Pendant / Prayer Box is hand made by the master artisans of Patan, which lies in the Himalayan Kingdom of Nepal; who have been in the business from generations.

 

NAMGYALMA BUDDHA – THE CROWNED MOTHER BUDDHA

NAMGYALMA BUDDHA – THE CROWNED MOTHER BUDDHA

Namgyalma Buddha the victorious hair or crowned mother Buddha. Namgyalma is a female Bodhisattva with three faces and eight arms and one of the three reverend deities of longevity. Her middle face and eight arms are white, symbolizing the elimination of disasters. There is an eye on each side of her forehead and a coronal is twisting around her painted on her crown. As required by the sutra of measurements for the construction of statues, this mother Buddha should be moulded as a maiden of 16 years old. Half of hair should be braided with the remaining hair hanging down and the tip being longer than her elbows. Her face should resemble sesame and her eyes red lotus petals. The yellow face on the left side symbolizes benefit and longevity and the blue face on the right side symbolizes the defeat of devils.

 

Namgyalma Buddha
Namgyalma Buddha

GESTURES AND ATTRIBUTES

The Mother Buddha is holding a double Dorje on the one hand of her main arm and rope on the other hand. While the palm of her third hand is facing the front to gratify peoples wishes. On the left side, her first hand is holding up, while her second hand is grasping a bow and her third hand is holding an Amrita- Kalash with a flower in bloom. According to the Buddhist scriptures, the followers who practices Buddhism should regard the victorious hair Crowned Mother Buddha as a female Bodhisattva who rids of miseries and disasters. Practicing her dharma can help lengthen their span of life, increase their happiness and wisdom, eliminate their sins and shield them from evil omen.

 

Namgyalma Buddha
Namgyalma Buddha

Virupa

VIRUPA – THE DAKINI MASTER

Virupa was a famous Mahasiddha from Bengal who lived during the ninth century AD. As a young boy he entered the acclaimed Buddhist monastery of Somapuri. He studied diligently and was extremely devoted to his practice of the Dakini Vajravarahi. But upon experiencing no results after twelve years of intense meditation, he threw away his rosary in discouragement. Vajravarahi then appeared to him in a shining vision, and gave him a beautiful new rosary and comforted him with words of praise and encouragement. Deeply inspired, he applied even greater effort to his practice, and eventually attained the supreme realization of Mahamudra.

Virupa
Virupa

Leaving his monastery, he traveled throughout India as a wandering yogin, and stories abound of the many miraculous deeds he performed. He is known to have walked on water, restored dead pigeons to life, stopped the sun’s movement in the sky, and subjugated a tribe of flesh-eating ghouls. He also has a connection with the Hindu god Indra, whom he swore to the Buddha’s allegiance. At the end of his long life, he was welcomed with honor into the Paradise of the Dakinis.

 

GESTURES AND ATTRIBUTES

Virupa is depicted in his popular posture with his right hand and his gazes are directed towards the sun sitting upon a deerskin, the traditional meditation seat of a wandering yogin, and an ancient symbol of renunciation. His left hand is held aloft in the wrathful gesture known as the “posture of holding the sun”. This posture recalls Virupa’s miraculous act of stopping the sun in its path, where he held it motionless in the sky for several days. His right hand holds a skull cup or Kapala, signifying his attainment of the union of great bliss and emptiness, and his power over the duality of life and death.

 

Guru Je Tsongkhapa

Guru Je Tsongkhapa and His Spiritual Sons

Je Tsongkhapa is often depicted with his two main disciples, Gyaltsabje and Khedrubje. He is thought to be a manifestation of Manjushri, the nature of all the Buddhas’ wisdom; Gyaltsabje a manifestation of Avalokiteshvara, the nature of all the Buddhas’ compassion; and Khadrubje a manifestation of Vajrapani, the nature of all the Buddhas’ power.

 

Je Tsongkhapa was the holder of all three old Kadam lineages that were passed down from Atisha through Dromtonpa. He performed an extensive retreat on Atisha’s Lamrim teachings at Reting Monastery, where he received visions of Atisha, Dromtonpa, and other Lamrim lineage Gurus. With the help of these Gurus and the Wisdom Bodhisattva Manjushri, with whom he conversed directly, he wrote several famous texts, including his Great Exposition of the Stages of the Path. Three lineages have descended from Je Tsongkhapa, and these are known as “New Kadam Lineages”; all three are still practiced today.

Guru Je Tsongkhapa and His Spiritual Sons
Guru Je Tsongkhapa and His Spiritual Sons

Je Tsongkhapa’s appearance in Tibet is believed to have been prophesied by Buddha Shakyamuni. He lived in Tibet from 1357 to 1419 AD, where he appeared in the aspect of an ordinary practitioner, although he was an enlightened being. He demonstrated a perfect example of how to build the foundation for the spiritual path, how to progress on that path, and how to complete it. By giving teachings and showing a good example, he led many disciples to gain pure, authentic realizations of the Buddha’s teachings. It is believed that even today, faithful practitioners who follow Je Tsongkhapa’s pure Dharma can accomplish enlightenment within a single lifetime.

Guru Je Tsongkhapa and His Spiritual Sons
Guru Je Tsongkhapa and His Spiritual Sons

Gestures and Attributes

Guru Je Tsongkhapa and his two Sons wear the robes of ordained persons, signifying that they have completed the perfection of moral discipline; they also wear yellow long-eared hats, signifying that they have completed the perfection of wisdom. Their lotus thrones signify their complete purity of body and mind. He holds his two hands at the level of his heart, in the gesture of turning the Wheel of Dharma, indicating that he can dispel the ignorance of sentient beings by giving teachings. He holds the stems of upala flowers, which support a wisdom sword and a scripture of the Perfection of Wisdom Sutra in Eight Thousand Lines. These signify that he principally teaches the Madhyamika-Prasangika view explained in the Perfection of Wisdom Sutras (symbolized by the scripture) by means of his omniscient wisdom (symbolized by the sword), motivated by love and compassion (symbolized by the two flowers).

The right hands of the two Sons are at the level of their hearts in the gesture of expounding Dharma, and their left hands are in the gesture of meditation holding scriptures, signifying that Guru Je Tsongkhapa’s doctrine will spread throughout the world.

 

Guru Milarepa

MILAREPA – BUDDHIST MASTER OF TIBET

Milarepa is believed to be the most beloved and highly accomplished Buddhist master of Tibet. He was born in the year of the water-dragon of an aristocratic family living in Kya Ngatsa in Gungthang, West Tibet. His father’s name was Mila Sherab Gyaltsen and his mother’s name was Nyangtsa Kargyen. He was given the name Mila Thöpaga, thös-pa meaning “to hear” and ga meaning “joy,” so his name was “Mila Who is a Joy to Hear.” He had a younger sister named Peta Palden.

Guru Milarepa
Guru Milarepa

His songs on enlightened experiences are still sung today by the learned and lay people alike. Milarepa during his early career committed many evil deeds through black magic, and sending hailstorms too. He later regretted his evil deeds and eventually found his worthy and enlightened Marapa, who put him on trials and hardships in other to test his guru devotion and eagerness to practice dharma teachings. He later conferred on him the series of empowerment and essential teachings of Maha Mudra which he received from Naropa. Milarepa meditated on these tantric teachings with great zeal in wild and forlorn mountains for 6 years and eventually achieved the realization of Vajradharahood in his very life time. Millions of devotees took inspiration from his practice and verification of Buddhist teachings.

 

GESTURES AND ATTRIBUTES

Milarepa is often depicted as in the illustration shown here, with his right hand raised to his right ear in a listening gesture, symbolling his way of teaching the Buddhist wisdom through songs or poems. He can be easily recognized by the right hand held up to his right ear. He spent much of his life meditating in mountain caves. In the Indian ascetic tradition, he sits on an animal skin. In his left hand is a skull-cup. The use of bone served as a constant reminder of the temporary nature of human existence. The presence of blue azurite in this figure’s hair indicates that it has been used for worship.

 

Guru Marpa

MARPA – THE FOUNDER OF KAGYUDPA TRADITION

Marpa was the founder of Kagyudpa tradition of Tibetan Buddhism. Marpa was one of four sons born of a well-to-do family living in Lodrak Chukhyer, southern Tibet. His father was Wangchuk Oser and his mother Gyamo Sa Dode. He was born in 1012 A.D. in the region of Lodrak, Tibet, right above the border of Bhutan. It is recorded that just the sight of the boy created a sense of fear and awe in everybody who saw him because he was very energetic and quite aggressive. Due to his unpopularity, his father sent him to study under Drogmi Sakya Yeshe Lotsawa, who was a renowned translator and teacher residing at Mangkhar (situated between Lhasa and Kathmandu). In his childhood he quickly learned reading and writing. He learnt Sanskrit from Drogmi Sakya Yeshe Lotsava(993-1050) who was well versed in Path and Fruition doctrine of Sakyapa Lineage tradition that is passed down from father to son; he had received the transmissions of Virupa, a pious monk living at Somapuri Monastery before he became a wandering yogi and master of the historical lineage of the patriarchs.

 

Guru Marpa
Guru Marpa

GESTURES AND ATTRIBUTES

Marpa is said to be a very fat one with hair standing five fingers straight up off his head and with angry looking face. But in some commentaries of Venerable Karma Chagme, he is described as having matted hair and wearing a Chuba with big Chinese style sleeves and a large cap.

 

Having been frustrated with his inability to learn more teachings from Drogmi Sakya Yeshe Lotsawa; he toured India three times via Nepal. At that time in Tibet there were few teachers from whom Marpa could receive further instructions, so – three times in all – he crossed the high passes separating Tibet from Nepal and India in search of more profound instructions from Mahapanditas, “great sages.” The journey was hard and took months, sometimes years. Thrangu Rinpoche taught that one needed to have great strength and courage to undergo such a challenge and that Marpa’s steadfast resolution was not based on a view to only benefit himself or for short-term purposes. He had two Nepali Gurus, Paindapa and Chitherpa from whom he learnt the Chakrasamvara and Chatuhpith Tantras for three years. These two Nepalese teachers gave Marpa a great deal of dharma instruction and language. Marpa mastered the Tibetan arts, language and literature, and Sanskrit under Drogmi Lotsawa’s tutelage in 3 years (other texts state in 15 years). Marpa with his great zeal and assiduity learnt the vast range of Tantric teachings from Naropa, Maitripa, Kukkuripa and others.  He came back to Tibet with these vast resources and taught his disciples extensively. Among his disciples, Tibet’s great yogi Milarepa was the foremost and he had many outstanding disciples of his own through whom Kagyudpa lineage is continued uninterruptedly till today.

 

GURU GAMPOPA – THE MAN FROM GAMPO

GURU GAMPOPA – THE MAN FROM GAMPO

In East Tibet, Gampopa (1079 – 1135) was the son of a doctor, and a doctor himself. Gampopa was trained as a physician who devoted himself to the Dharma after the death of his wife. Guru Gampopa became the heart son of Milarepa and was the root guru of the first Karmapa, Dusum Khyempa. It is his synthesis of the traditions of Dharma teachings melded with the experiential meditative teaching of Milarepa that formed the Kagyu tradition, as we know it today. Guru Gampopa wrote the “Jewel Ornament of Liberation” and is usually depicted wearing robes and a red hat, which has become synonymous with the Kagyu School.

 

Guru Gampopa
Guru Gampopa

 

Gampopa married in his early twenties, and fathered two sons. Several years later, an epidemic took both their lives, despite his skill. His wife falling sick of the same disease, and similarly failing to respond to his ministrations, begged him as she died not to marry again, but to become a monk.

 

One might question her motives, but nevertheless, at the age of twenty – six, Gampopa became a novice in the Kadampa tradition. Guru Gampopa applied himself, working with many masters, and achieved a high degree of proficiency before – at thirty – two – hearing talk of Milarepa. Feeling a surge of devotion in response to these tales, and understanding that this must be his true teacher, he set out on a grueling but eventually successful search to find him.

 

Guru Gampopa, a talented writer, of great insight, was entrusted by Milarepa with the complete Kagyu transmission – the only one of Milarepa’s students so honored – before leaving Milarepa to go into retreat at Dagpo in South – East Tibet. There he founded the monastery of Daglha Gampo, where he drew many disciples. Four of these were to found the four “major” Kagyu branches. Eight “minor” branches would appear later. One of the four, Dusum Khyenpa was both the next Kagyu lineage – holder, and the first Karmapa.

 

SAKYAMUNI BUDDHA – THE LION OF THE SAKYAS

SAKYAMUNI BUDDHA – THE LION OF THE SAKYAS

Sakyamuni Buddha is the Buddha of our time. He is the glorious root teacher of all the diverse lineages that make up Buddhism as we know it. Born Siddhartha Gautama more than 2500 years ago, he was the crown prince of the Sakya kingdom located in the Himalayan foothills of what is now southern Nepal. He left luxurious palace life behind him, however, in pursuit of the truth of the origin of suffering and the cessation of fear. His astounding courage, determination, wisdom and compassion led to his perfect enlightenment despite seemingly insurmountable obstacles. His teachings have transformed individuals and nations throughout the world and still speak to us today.

 

GESTURES AND ATTRIBUTES

The Sakyamuni Buddha is depicted with his right hand extended to the earth in the Bhumisparsha Mudra, the gesture of witness. Sakyamuni Buddha is “calling the earth to witness” his supreme victory over the temptations and illusions of the material world as symbolized by the demon Mara. Sakyamuni Buddha’s left hand lies in his lap with palm upward in the gesture of meditation (Dhyana Mudra). In some representations he also holds the begging bowl of an ordained Buddhist monk. The bowl contains three precious nectars indicating that he has conquered the three demons of uncontrolled death, contaminated aggregates, and delusion. Thus, this posture is known as “Buddha Sakyamuni Conquering the Demons” and shows the moment of the Buddha’s full enlightenment under the Bodhi tree.

 

 

The essence of the Sakyamuni Buddha’s early preaching was said to be the four Noble truths:

1) life is fundamentally disappointment and suffering.

2) suffering is a result of one’s desires for pleasure, power, and continued existence;

3) to stop disappointment and suffering on must stop desiring; and

4) the way to stop desiring and thus suffering is the Noble eight fold path – right views, right intention, right speech, right action, right livelihood, right effort, right awareness and right concentration. The realization of the truth of Anatman (no eternal self) was taught as essential for the indescribable state of release called nirvana

 

 

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