Pancharakshya: Five Protective Deities in Vajrayana Buddhism of NepalProf. Shanker Thapa, Ph. D.∗ Abstract It is a matter of greater concern for scholars of Buddhist literature how Pancharakshya Sutra came into being and developed to the present shape. As we know, Pancharakshya is a combination of five individual Sutras of similar nature. So, it got the name of Pancharakshya, the Sutra of fivefold protection. The context of origin of the individual protective Sutras and their historicity is a vital concern of scholars. Pancharakshya Sutras was primarily intended for mundane benefit. The contexts and narratives in all the five Sutras indicate such purposes. It is significant to note that Mahapratisara Sutra even helps to attain enlightenment. This is possible through the recitation of the Sutra. This is the most important aspect of Pancharakshya Sutra. It is believed that each Sutra has enormous power. Keywords: Buddhahood, dhardni, Mahayana, Mandala, protection, Sutra, Vajracharyas, Vajrayana, mundane, Pancharakshya, Philosophical Aspect of Pancharakshya Pancharakshya is a Mahayana tantric text which belongs to the Vidyadevi section of Kriya tantra.1 It is a collection of five Mahayana Sutras which is comprised of Mahapratisara, Mahashahasrapramardini, Mahamayuri, Mahamantranusarini and Mahasitavati. This order is based on the Pancharakshya Vidhana as mentioned in Sadhanamala.2 But the order and position of Pancharakshya deities in the Mandala in Tibet differs to this order and position.3 This list places Mahashahasrpramardini at the center in a ∗ 1 2 3 . . . Professor, Central Department of History, Tribhuvan University, Kathmandu, and Dean, Lumbini Buddhist University, Kathmandu, Nepal. Wangchuck Dorjee Negi, Vajrayana Darshan Evam Sadhana, Sarnath: CIHTS, 1998, pp. 71-72, 310-311. Benoytosh Bhattacharya (ed.) Sadhanamala, Vol. 2, Baroda: Oriental Institute, 1968, pp. 405413. Antoinette K. Gordon, The Iconography of Tibetan Lamaism, New Delhi: Munshiram Manohar Lal, 1978, p. 38 and 78. In the Tibetan tradition, the central position is given to Mahashahasraprmardini (Tib: Tong Chhemmo raptu Jomma). This order further varies to the order mentioned in the Vajravali. It mentions the order as Mahapratisara Mahashahasrapramardini, Mahamantranusarini, Mahasitarati and Mahamayuri. See: Raghuvir 2 Mandala. The order of deities is Mahasahasrapramardini, Mahamantranusarini, Mahapratisara, Mahasitavati and Mahamayuri. Even the places attributed to each deity in the Mandala do not correspond with the description given in Nispannayogavali of Abhayakara Gupta. These apotropaic texts have been transformed into individual deities. Thus, they are the five deified spells. This book comes to stand for the source of Buddhahood. The dhardni, the epitome of wisdom and power of the Dharma, can be conceived as a protective deity.4 The five deities are also correlated with the five senses (pancha skandha) and five celestial Buddha. At the conceptual level, gods and fiends do not exist in reality; they are merely the creation of fancies 5 and just visualized by devotees. The term Pancharakshya refers to five different spells. Those charms involve elaborated rituals and the esoteric Mantras. It is said that by eleventh century, the spells were personified as deities. They were painted in manuscripts, designed in Mandalas and depicted in wood struts, bronzes and stones.6 D. C. Bhattacharya has introduced the theory of emanation from Tara on the origin of Pancharakshya as protective deities. However, it is yet to be examined. They are very popular in Mahayana - Vajrayana tradition. Nepal has lively culture of performing rituals and worship of these protective deities. By the grace of ritual significance and efforts of Buddhist scholars, believers and ritual forming Vajracharyas, this tradition of worshiping protective deities has become very popular even among the Taiwanese Buddhists. These goddesses are also called raksa deities. They are protective because they protect. This cultural tradition is particularly very popular in Nepal because of their ascriptive power. Therefore, the lay Newar Buddhists keep at least a copy of the text in their houses for protection. Their worship is much in vogue is evident from the fact that their images are found in monasteries in different forms.7 and Lokesh Chandra, Tibetan Mandala (Vajravali and Tantra Samuccaya), New Delhi: International Academy of Indian Academy, 19…., pp. 60-61. 4 . Luis C. Gomez, ‘Buddhist View of Language’, in Mircea Eliade (ed.), The Encyclopedia of Religion, Vol. 8, New York. Macmillan, 1987, pp. 446-451. 5 . Kenneth K. S. Chen, Buddhism in China: A Historical Survey, Princeton, Princeton University press, 1973, p. 327. 6 Pratapaditya Pal, Art of Nepal, Los Angeles: Los Angeles County Museum, 1985, p -34. 7 For further details on Pancharakshya see: Shanker Thapa, ‘Pancharakshya in Nepalese Buddhism', Loka Kirti Mahavihara Mataya Souvenir, Lalitpur, 2061; Shanker Thapa, ‘Introduction to the Pancharakshya Sutra in Mahayana Buddhism', Aayan (The Path), No. 1, Year 1 , 2061, Kathmandu; Shanker Thapa, 'Iconography and Images of Pancharakshya Sutra in Newar Buddhism', The Great Compassion – an International Buddhist Review, Winter 2004, Kathmandu; Shanker Thapa, ‘An Introductory Remark on ‘Pancharakshya Sutra in Mahayana 'Buddhism' Rolamba, Vol. 22, No. 3~4 and Vol. 23, nos. 1~4, July 2002 – Dec. 2003. For details on Mahapratisara see: Shanker Thapa, 'Ritual Aspect of Mahapratisarä, Voice of History, Vol. XVI, No. 1, 2001; Shanker Thapa,'Iconography of Mahäpratisarä', Tri-Bodhi, Vol. 2, No. 2, 2002; 3 The raksa deities are popular because of their enormous power as mentioned in the Sadhanamala.8 The five protective goddesses are the five deified mystic spells or the Vidya. They are supposed to protect humanity from all kinds of troubles and miseries. To protect himself from all possible evils and to ensure fulfillment of all desires, the votary was supposed to write the charms or spells of five protective deities in drawn sheets of paper, horns of animals or any other suitable objects and hold the mantra in amulet.9 During ritual performances, they are symbolically represented by specific grains such as white sesame, mustard, and black, green and red beans. The worship of these deities is believed to bring about various benefits. It is even important to note that Mahaprtisara even confers enlightenment 10 along with other mundane benefits. The boons and benefits that Pancharakshya could bring about include enormous happiness, success, free from all kinds of dangers, birth of a son, easy child birth, no bad dreams, attaining the Vajrakaya, protection from enemies, cure serious illnesses, defense from forments of hell, escape misfortune, fulfill wishes, safety, protection from disasters and calamities, immunity from diseases, protection of cattles, help sick trees, to ensure effectiveness of medicines, cure snake bites, freedom from snares, get support from deities and demons as well as Buddhas and Bodhisattvas, removal of fear tranquility and relief from pestilence.11 The Pancharakshya deities are venerable not only to learned men and women but also to Brahma, Vishnu, Mahesvara, Indra, the Tathagatas and other gods and goddesses. Each of them is considered the mother of the three worlds who keep constant watch on it. They help to enlighten the sentient beings in the three worlds and also help them flourish. The protective goddesses are referred to as Tarani, which literally means the saviour-boat.12 Similarly, it is said that utterance of the name of Tara and Vasundhara fulfills all aspirations.13 Similarly, just to hear the names of five deities could help in getting rid of all misdeeds. Shanker Thapa, 'Recognition of Mahapratisara in Different Buddhist Traditions', Khopring, No. 12, Year 13, 2004-2005, Kathmandu. 8 . Benoytosh Bhattacharya, Indian Buddhist Iconography, Calcutta, K.L. Mukhopadhyaya, 1968, pp. 302-303: Bhattacharya, Sadhanamala, . . . ., op cit, pp. 396-402. 9 . D. C. Bhattacharya, Studies in Buddhist Iconography, New Delhi: Manohar, 1978, p. 69. 10 Peter Skilling, 'The Raksa Literature of Sravakayana', Journal of Pali Text Society, Vol. XVI, 1992, p. 140. 11 Gajaraj Vajracharya (ed.), Pancharaksa Sutrani (Unpublished manuscript), pp.1-337; Todd T. Lewis, Popular Buddhist Texts from Nepal: Narratives and Rituals of Newar Buddhism, New York: State University of New York Press, 2000, p. 27; Janardan Shastri Pandeya, Bouddhastotra Sangraha, Delhi, Motilal Benarsi Das, 1994, pp. 112-115; Shasani, Thinley Ram, 'Aryamahapratisara Vidyarajni', Dhih, No. 28, Sarnath, 1999, pp. 127-142. 12 . D. C. Bhattacharya, op. cit, pp. 10-11. 13 Tarabhattarakanama Stotra- Quoted from : Pandeya, op cit., pp. 88-92; Also see: Mahendra Ratna Shakya, Basundhara Devi Chhagu Adhyayan, Lalitpur, Lotus Research Center, 1994, pp. 4 These deities are associated with the five celestial Buddhas and follow colour and vehicle and direction patterns. It is illustrated in the following table Table No: 2 Association of Pancharakshya Deities with Celestial Buddhas, Colour Pattern and the Vehicles Five Celestial Buddhas Vairochana Akshobhya Ratnasambhaba Amitabha Amoghasiddi Protective deities Mahapratisara Mhashahasrapramardini Mahamayuri Mahamantranusarini Mahasitavati Five Colours White Blue Yellow Red Green Vehicles Lion Elephant Horse Peacock Garuda Five Directions Center East South West North The relationship of protective deities and the Buddhas is illustrated in the above chart. But they are never mentioned as the Shakti. The associated Buddhas have rightful place in their crowns of the deities. D. C. Bhattacharya opines that existence of Pancharakshya deities is the result of elaboration of iconography of the Tathagatas and subsequent need for elaboration of their power in order to rationalize relationship between the two.14 A very similar concept of protective deities is also found in Hindu treatises of Puranas as well. Thus, the concept of protection was already floating in other form. Vajrayana tradition has crystallized it into the composite concept of Pancharakshya. In this process of crystallization, learned Buddhist priests have played significant role. A deep probe into the question of their originality and individuality will possibly show that in many instances they did not invent anything new but gave a new interpretation to the concepts and forms already prevalent in other faiths. This interpretation made them very popular among the Buddhist laity. Pancharakshya in the Nepalese Tradition In the context of Nepal’s Vajrayana tradition, Pancharakshya has been very popular among the Newar Buddhists. It is a living popular Buddhist culture of Nepal. The fact that Nepal has a vast collection of Pancharakshya manuscripts attests its popularity. The Buddhists keep at least a copy of manuscript of Pancharakshya at homes and worship for protection. Since, Pancharakshya protects, it became very popular. The proliferation of the text under titles of Sutra, dharani, stotra,15 raksavidhanakalpa, mahavidya, vidyarajni, 73-79; Also see: Hera Kazi Vajracharya, Nepali Buddharmama Vasundhara, Lalitpur: Buddhi Raj Vajracharya, 2058 V.S, pp. 20-28 14 . D. C. Bhattacharya, op cit., pp. 71-72. 15 . For Stotra see: Pandeya, op cit., pp. 112-115. 5 hridaya, pranidhana, tika, nibandhana, gatha, vidhi, vidya, kalpa and vidhana proves its popularity and importance. The power of Pancharakshya attracted people who believed that the deities bring auspicious moments, welfare and protection. It has been regarded as all round troubleshooter. Therefore, this text is copied to the extent that no other Buddhist texts were ever copied in such a great number in Nepal. The Vajracharya priests perform recitation ritual. Because of its enormous power of protection, it is synonym to Theravadi Paritrana.16 During the Malla dynasty and early Shah dynasty, the book of Pancharakshya was even used to sworn in Buddhists at the court of law. Brian H. Hodgson, a British diplomat and Nepalese manuscript collector in the middle of the nineteenth century in Kathmandu, wrote that Pancharakshya was then used in the courts of justice to swear Buddhists upon.17 The themes elaborated in the Pancharakshya dealing with effectiveness of the Mantra and dharani attracted more people to repose faith on the Sutra for protection against all kinds of undesirable situation. Pancharakshya has become a popular tradition among the Newar Buddhists in Nepal. They perform Pancharakshya recitation and ritual on several occasions for worldly benefits.18 The benefit of Pancharakshya is mentioned in different texts. The book of ‘Mahapratisara Kalpa’ mentions that listening of the Sutra mitigates all kinds of sins. The ‘Aryamahapratisara Vidyarajni dharani’ mentions mantra of Pancharakshya. The verse thus goes - 20 Jvare gare tatha roge sangrame ca tathaivacha, Dakini sabhutochhushmanadi shatru prapidite, Ashani Vidyunmeghana parvate banamargayo, Tasman mantram smarenityam sarva shanka nisudanam 19 - Yesyam Sravana matrena sarva papamksyam gata. Similarly, the other verses in Sanskrit also elaborates the power of the 16 . Dibya Vajra Vajracharya, Pancharakshya Kathasara (Pancaraksa Compendium) Kathmandu: Purnananda Vajrcharya, 2037, pp. IX-X. 17 . Brian H. Hodgson, Essays on the Languages Literature and Religion of Nepal and Tibet, New Delhi,:Manjusri Pub. 1972, p. 18, Also see, J. K. Nariman, Literary History of Sanskrit Buddhism, Delhi,:Motilal Banarsi Das, 1992, p. 116. 18 . Karunakar Vaidya, Buddhist Tradition and Culture of Kathmandu Valley, Lalitpur: Sajha Prakashan, 1986, p. 236. 19 . Thinley Ram Shashani, 'Aryamahapratisara Vidyarajni', Dhih – Journal of Rare Buddhist Texts, No. 28, Sarnath: 1991, p. 136-139, Vajracharya, Pancharakshya Sutrani. . . , op cit., p. 9. 20 . Herakazi Vajracharya (ed.) Saddharma Patha Sangraha, Lalitpur: Kaji Ratna Shakya and Ratna Devi Shakya, 2057 VS., p-16. 6 (The regular recitation of the mantra at the time of fever and other sicknesses, suffered from dakini, ghosts and hot river; and at the time of eating, thunderstorm, mountain and forest eradicates all doubts.) Thus, Pancharakshya is a highly respected text. People believe that it has enormous power of protection.21 This text is highly venerable for Nepali Buddhists. It is utilized in need by the lay society to fetch good fortune. During special occasions, the Vajracharyas are invited to recite Pancharakshya Sutra and perform ritual and worship depicting Pancharakshya Mandala to overcome difficulties. Although the Sutra itself is popular among the Newar Buddhists, worship as well as recitation tradition has been declining among them at recent time.22 The book of spells promises to be rewarding. Such types of Sutras including Pancharakshya, were originated in order to obtain realization but not to indicate philosophical reflection. Thus, Pancharakshya Sutra was basically intended as the basis for rituals.23 Therefore, it remains popular among the laity. There is also a belief that benefit can be accrued even by offering daily worship on the manuscripts. The Buddhists keep those texts at homes with due respect which is also intended for protection from dangers posed by five elements. Those elements are related to five deities. 24 Water Space Earth Fire Air Mahapratisara Mahashahasrapramardini Mahamayauri Mahamantranusarini, and Mahasitavati The popularity of Pancharakshya is also supported by the fact that Nepalese Buddhists inscribed protective deities in various arts forms in Viharas as well as manuscript paintings. The Gunakara Mahavihara (Chusya baha) has very beautiful wooden roof struts carved with Pancharakshya deities.25 Similarly, Nhugusingh Vajracarya in Caturbrahmamaha 21 . For detail see, Adivajra, Pancharaksa Patha Sutra, Kathmandu: Sattvatara Rajracharya, 2050, pp. I-X. 22 . Gellner, David N. Monks, Householders and Tantric Priests, New Delhi: Foundation Books, 1992, p. 127. 23 . Michael Strickmann, 'The Consecration Sūtra, A Buddhist Book of Spells', in Robert E. Buswell (ed.) Chinese Buddhist Apocrypha, Delhi: Satguru Publication, 1992 (Indian edition), pp. 79-81. 24 Vajracharya, Pancharakshya Sutrani. . . , op cit., p. Kha. 25 . For details see: Karel Rijk van Kooij, 'The Iconography of the Buddhist Wood Carving in a Newar Monastery in Kathmandu (Chusyabaha)" Journal of Nepal Research Center, Vol. 1, 1977, Kathmandu, pp. 57-59. 7 Vihara in Bhaktapur donated Pancharakshya struts during the fourth decades of eight-century N.S.26 In fact, Newar Buddhists are benevolent to religion and rituals. They practice Kriya tantra along with other forms of tantra.27 All the four forms of tantras are in practice among the Vajrayana followers of Nepal as well as Tibet. However, Kriya tantra has become popular among the Newar Buddhists. Thus, complex rituals and Homa (fire sacrifice) is done for welfare of the laity. Therefore, Vajrayana emphasizes on elaborated rituals. This situation has led to emphasize on worship and evocation of various tantric deities. In this context, Pancharakshya became very popular among the followers. Because of the power of the Mantra the deities possess, they are highly venerated. The tradition of copying the Sutra also attests popularity of the text itself, which has been considered as an act of merit. The full moon day (Purnima) and eighth day of bright half of the month (Astami) are auspicious days to visit Stupas and shrines. During these days, Buddhist priests recite Pancharakshya in major shrines for patrons at the payment of money. They also perform rituals and recite dharani for them. The popular De Aca Guthi, a traditional Buddhist organization of the Buddhists of Kathmandu observes a grand Pancharakshya recitation ceremony during at Svayambhu Chaitya in March. In fact, the Guthi performance begins only after the recitation of Pancharakshya Sutra.28 It is also noteworthy that the Pramoda Tirtha, one of the twelve Buddhist pilgrimage sites in the Kathmandu Valley is the place where Pancharakshya Sutra is prescribed for recitation.29 Thus, the devotees recite the Sutra to fulfill wishes. All types of Vajrayana rituals begin with the worship of Gurumandala. Mahapratisara alone from among the protective deities is involved in this worship. The mantra – ‘Om Manidhari Vajrini Mhapratisare Raksaraksa ma sarvasttvanamca hum hum phat svaha’ is recited. Usually, Pancharakshya recitation ritual is preformed mainly on birth days to overcome influences of planets as advised by the Buddhist astrologer, weddings, laying foundation to build a house, illnesses and so on. The five colour grains such as white 26 . Saptachandra Vajracharya, ‘Suratsri Caturbrahmamahaivihara ko Aitihasik Vivarana (Historical Description of Surat Sri Caturbrahmamaha Vihara)’, Bhaktapur, Year 19, No. 5, Falgun, 2057, pp. 7-15. 27 . For details on 4 types of tantra- see: Negi, op cit., pp. 64-284. 28 . For De Aca Guthi See: Michael Muhlich, 'The Newar Vajracharya as Recipient of Dana' Journal of Nepal Research Center, Vol. XI, 1991, pp. 102-104. 29 . John K. Lock, ‘The Uposatha Vrata of Amoghapasa Loksvara of Nepal’, L' Ethnographhie, Vol, LXXXIII, 1987, pp. 159-189. For Tirtha See-Badri Ratna Vajracharya (ed.), Svayambhu Mahapurana, Lalitpur: Jog Raj, NS 1116, pp. 163-170. 8 sesame, black beans, mustard, Green beans and red beans are connected with the five deitiesMhasahasrapramardini, Mahamayuri, Mahapratisara, Mahasitavati and Mahamantranusardni respectively. In the same way, Pancharakshya worship and Sutra recitation is also arranged in a new house for purification and protection from evils. For this purpose, a Pancharakshya amulet (Yantra /or Jantra in Newari) is nailed at the main entrance of the house and all other rooms and items such as peacock feather, multi colour ritual threads, flowers etc. are also offered. The significance of Pancharakshya is further supported by the fact that it is recited at the completion of restoration and renovation of Svayambhu Stupa along with recitation of several other Buddhist texts.30 In the case of major inauspicious moments as indicated by Buddhist astrologers, the incumbent offers charity to the deities to overcome so called bad moments. If the 12th day of mourning of a deceased falls on Wednesday, the Buddhist Newars of Kathmandu invite a Vajracharya priest to recite Pancharakshya as part of the major ritual. It is noteworthy that some Hindu Newars within the city also sponsor recitation ritual because it brings good fortune and protects. Generally, Pancharakshya can be recited at anytime as part of ritual to overcome difficulty. Pancharakshya tradition has been incorporated into important life cycle rites also.31 For protective purposes, an amulet is tied in the neck of children. Similarly, the text is recited and charity is offered on the Mandala to ensure longevity and accumulation of merit. An extended worship of Pancharakshya Mandala is also performed during old age rituals popularly called the Budha Janko among the Newar. The images of the five deities are also depicted in the Usnishavijaya paintings. 32 It is a part of the ceremony in order to strengthen the elders and ensure their long life. Even during death rituals, Pancharakshya deities form a circle of guardians around the ‘Durgatiparisodhana Mandala’. Not only limited to these kinds of ritual performances, Pancharakshya is also popular for its type of healing tradition. Special amulet and medicinal incenses are prepared as mentioned in the text to cope with troublesome ghosts and spirits.33 During the medieval period, the Kings frequently read the text at the notice of inauspicious omens and misfortune 30 . Hem Raj Shakya, Sri Svayambhu Mahacaitya, Kathmandu: Svayambhu Vikas Mandal, 1978, p. 286. 31 . Ibid, p. 159. 32 . For details see- Pal, op cit., pp. 137 and 139. Also see Usnishavijaya paintings of Nepal museum. 33 . Both the Hindu and the Buddhists believe in ghost and spirit. They have their own ways to deal with them. For introductory remarks on them see: Prem Raman Uprety and Mukunda Raj Aryal, 'Supernatural Beings in Nepal: An Overview', Asia Pacific Culture, No. 48, Tokyo, 1994, pp. 911. 9 arrived. The popularity of Pancharakshya in Nepal has direct link with the proliferation of Pancharakshya manuscripts, which are now preserved in archives and libraries within Nepal and abroad (Japan, India, United Kingdom, France Germany and Russia).34 The recitation of dharani for welfare purposes is very important feature of esoteric Buddhism. Generally, such dharanis are mostly composed without rational meanings. However, the adaptation of dharanis is primarily aimed at mental concentration.35 The Pancharakshya Sutra in Nepal is very popular for such purposes. It has commanded very good respect in the Nepalese Buddhist society. Themes and Utility There is a long list of Buddhist Sutras and dharani designed basically for protection. Pancharakshya having been attributed to a lot of qualities and the power of protection destroys evil elements and brings about auspicious moment. It is said that recitation of dharani brings about peace and prosperity, eradicates inauspicious and painful moments and prepares the way for Buddhahood removing all kinds of defilements.36 Mahapratisara being the main deity and assigned with the central throne in the Pancharakshya Mandala comes first subsequently followed by others. Each text of individual Sutra opens with the frame narratives that the compiler heard Buddha's words in the place in mentioned so far. Similar to other Sutras, Pancharakshya is full of stories that describe power and ability of the Sutra itself. In fact, all such stories are included to glorify enormous power attributed to each deity. Each Sutra in the Pancharakshya group has specific protective power. Thus, these Sutras are used for protective purposes as well as Buddhist method of healing. As the matter of fact, the Sutra was known far and wide for phenomenal healing abilities. In the case of curing one's own sickness in the Buddhist way, the visualization and incantation process alone were deemed sufficient.37 The themes of Pancharakshya Sutra are comprised of several narratives that approves the power. Mahapratisara Sutra has larger number of such stories, which are used as testimonial narratives comparing to other Sutras in the group. In fact, individual Sutras have specialty in protection. Mahapratisara makes an end of demons and evils. It mitigates sin and 34 . Shanker Thapa, 'Textual History of Pancharayshya Sura in Nepal', Voice of History, Vol. XV, No. 2, Dec. 2000, pp. 21-38. 35 . Hajime Nakamura, Indian Buddhism: A Survey with Bibliographical Notes, New Delhi: Motilal Banarsi Das, 1989, p. 315. 36 . Shashani, op cit, p. 128. 37 . Alex Wayman, 'Buddhist Tantric Medicine Theory on Behalf of Oneself and Others', Kailas, Vol. 1, No. 2, 1973, Kathmandu: p. 152. 10 brings about happiness for all the sentient beings. It also cures diseases. Similarly, Mahasahasrapramardani controls the bad effects of planets, mitigates sufferings and helps to overcome fear, clashes etc. Mahamayauri helps to overcome fears of weapons, neutralize poisons, controls bad sights of Naga, daitya and deva, curves pain in the body and brings peaceful moments (Santi-Svasti). Goddess Mahamantranusarini is believed to have power to eradicate papa citta (sinful mind), and do welfare to all the sentient beings. By the power of Mahasitavati, one is protected from poison, weapon, diseases, mantra, vidya and danger posed by air. In this way, Pancharakshya protects from diseases, sin, poison, bad planets, animals, poisonous insects and so on.38 Iconography and Images Since Pancharakshya became very popular in Nepal as a group of deities, it gradually secured rightful place in Viharas architecture in the form of art works. They are mostly depicted in the art form such as wooden roof struts, metal or wooden tympanums, metal works, stone statues and paintings. Very important roof struts carved with Pancharakshya deities are in Chusyabahal (Kathmandu) and Caturbrahma Mahavihara (Bhaktapur). Similarly, five protective deities are nicely depicted in the brass tympanum of Hariti temple at Svayambhu. It is also said that tympanum at Itumbahal bears the image of Aryamahapratisara. Similarly, Pancharakshya are painted in paubha paintings as well. The very important painting of Pancharakshya is the Usnishavijaya of Nepal Museum. The deities are painted just below the images of celestial Buddha. Very spectacular paintings are also available in Pancharakshya manuscripts. The stone image of Mahapratisara (12th CC) at Dhaka Museum is very beautiful. A large number of paintings of Pancharakshya are in Cambridge and Asiatic Society of London in the form of manuscript paintings. These sorts of art work needs to be done on the basis of Buddhist classics such as Sadhanamala, Nispannayogavali, Vajravalinamamandalopaika and Dharmakosha Sangraha. Similarly also refers to the Pancharakshya Mandala. These are the texts that mention about iconography and the Mandalas. But sometimes images are also made that do not correspond to the prescribed rules of iconography. Both these types of sources, textual description and art forms are the sources for the study of iconography of Pancharakshya deities in Nepal. The description of Pancraksa deities given in these texts vary to each other to some extent. There is variation between Mahapancharakshya Sadhana and individual Sadhana of Pancharakshya deities 38 . Adivajra, op cit., pp. XII-XIII; also see: Vajracharya, Pancharakshya Sutrani. . . , op cit., p. I. 11 described in the Sadhanamala. Each deity has several iconic types based on these descriptions. All the five deities have their seats in the Pancharakshya Mandala. Mahapratisara is at the center. They are, thus, worshipped in the group. Even individual deities are also worshipped on several occasions. The iconography of these deities when worshipped independently differs from those worshipped in a Mandala. Regarding the artistic transformation of Pancharakshya Sutra, the image of Pratisara found in China,39 Mahamayauri of Nalanda 40 and Mahapratisara kept at Dhaka Museum are considered very significant. Similarly, Gordon's reproduction of Mahamayuri,41 Mahamayuri in the caves Nos. 6, 8, 10 and 12 at Ellora, and Pancharakshya images depicted in the roof struts in some Viharas in Nepal are very significant art forms. The painting of deities in the Pancharakshya manuscripts preserved elsewhere is very important in the study of Pancharakshya. The painting of Pancharakshya manuscripts in the possession of Cambridge University (dated fourteenth year of King Nayapaladeva > later half of 11th century) is said to be the oldest text containing miniature painting. But Pancharakshya collected by Daniel Wright in Nepal dated N.S. 19 (899 A.D.) is older than this. The painting in this manuscript should be considered the earliest Pancharakshya illustration. All such paintings are based in one of the three classical texts that describe Pancharakshya in detail. The Pancharakshya images in Viharas are found in wood and metal works and paintings. There has been a tradition of depicting Pancharakshya deities in the forms of varieties of art works in Nepalese Vihara. These images primarily intended protection of the Vihara itself. The Pancharakshya roof struts in Chusyabaha and Chaturbrahma Vihara are on the Western block facing east. In Chusyabahal, the order is same as mentioned in the Sadhanamala. Each strut is inscribed with the name of the deity.42 In Chaturbrahma Vihara, the struts which have the images of Pancharakshya several other deities are placed under them. The strut of Mahapratisara is very spectacular. She has 3 faces, three eyes and four hands. The God of fire the god of East-South direction and Ganesha are depicted down her seat.43 39 40 . W. E. Clark, Two Lamaistic Pantheons, Cambridge, 1937, pp. 276. . Debala Mitra, an Indian archaeologist who has worked in Kapilvastu excavation site, has identified Mahamayauri of Nalanda. 41 . Gordon, op cit., p. 76. 42 . Van Kooij, loc cit., pp. 57-59;. 43 . Vajracharya, ‘Suratsri Caturbrahmamahaivihara ko Aitihasik Vivarana’, loc cit., p. 8. 12 In addition to it, the tympanums of Itumbahal and Hariti temple contain Pancharakshya deities that are nicely engraved. The tympanum at Itumbahal is wooden whereas it is made of brass at Hariti temple. The very important fact to be noted is that in many cases the classical description of iconography of five protective deities differs to the actual depiction in the form of art objects. Similarly, some of the images do not correspond with the textual descriptions. However, general features of these images can be enumerate as1 Numerous hands and heads, 2. Multiple face colours, 3. The colours of principal face corresponds with the body colour, 4. Sitting posture having separate vehicles and so on, The descriptions made in Sadhanamala and Nispannayogavali vary to each other to some extent. Such variations may not be of greater significance in the study or the practice of Pancharakshya Sadhana. But this kind of differences is important while dealing with icons and images of the deities. In addition to it, Pancharakshya paintings are also very important. Most of the manuscripts of Pancharakshya Sutra are painted with five deities along with other certain Buddhist images. In the Tibetan tradition, Pancharakshya has a rightful place in the Buddhist practice. They are visualized by a Sadhaka as described in the classical texts of Sadhana and offers Panchopachar puja. They are called Bsrun ba lna (Pancharakshya Devi), Sosor hbran ma chen mo (Pratisara), Ston chen rab hjoms ma (Sahasrapramardini), Rma bya chen mo (Mahamayuri), Gsan Snags rjes Su hdzin ma chen mo (Mantranusarini) and Bsil bahi tshal chen mo (Sitavati) in Tibetan. They are believed to protect the lay society by eradicating worldly sufferings, treating diseases, accumulation of wealth, controlling bad planets, protecting womb, protection from poison and so on. The Sadhanasamuccaya also deals with Pancharakshya Sadhana. The twelfth and fourteenth books (Tib: nga and Sri) of Sadhanasamuccaya deal with Pancharakshya deities.44 Similarly, in the seventh book (Tib: Jhya), Pancharakshya Sadhana and consecration is dealt with.45 44 . Punya Prasad Parajuli, Sadhana Samuccaya ma Barnit Bouddha Sanskritika Sankshipta Adhyayan, (Unpublished Research Report) CNAS, 1998, pp. 20-47. 45 . Ibid, p. 38. 13 ***
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