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Get fast, free shipping with Amazon Prime. Get to Know Us. Finally, notice that there appears to be no lotus. I suspect, however, that it belongs there in the dam-aged first-half of verse Thus, the four-legged stool corresponds to the lowest part of the liga, which is square in section; the eight-petalled lotus corresponds to the middle section of the liga, which is octagonal, and the deity sits on that in such a way as to occupy the ligas rounded upper part.
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The SvyambhuvastrasagrahaThe Svyambhuvastrasagraha furnishes us with another early example of building a throne for the worship of iva inside the liga Palm-leaf, early Nepalese Licchavi script. Described by Hara Prasd stri There are two apo-graphs, both in Devangar and on paper: The verse and chap-ter numeration used in our annotation is that of a collaborative edition in progress involving, among others, Dominic Goodall, Harunaga Isaacson and Alexis Sanderson. Having washed the liga and its base piik with iva-water he should prepare the above-taught guest-offering of water argha , then he should install the lotus: On the petals are to be placed the [first eight of the nine] powers [begin-ning with Vm] using the word sarvavypi [from the tantras root-mantra, the word vyomavypin].
On the pericarp he should install [the ninth power] Manonman using the word vyoma [from the same mantra]. Then [he should install] the Lord, iva, who is [in fact] all pervading, seated upon the syllable [OM]. As in the Nivsatattvasahit, no mention is made of the legs of the throne, namely, dharma and the others, being visualized as lions, nor are there even colours or directions prescribed, and no mention is made of the negative proper-ties of the intellect adharma, ajna, and so on. But this is clearly a description so skeletal that it can only really have been intended for readers who already knew how this sort of throne should be visualized.
Lions might, therefore, have been intended. Another Throne in the Heart: The NivsakrikLet us now look at one more tantric passage, this time concerning the lotus throne in the heart of the body again and not in the liga Sarma, Nibedita Rout and R. Sathyanarayanan and organized and purged of some errors by Nirajan Kafle , jnaka The latter gives the text of what is probably a manual based upon the Jnaratnval; for details see Dominic Goodall,Problems of Name and Lineage: J 19a dardhsya para saumya] conj.
T 20b parama ivam] T17, J; paT The heart of all creatures is like the flower of a banana [in shape and colour].
In its centre is located an eight-petalled lotus with its pericarp. The heart is the span of the thumb to the middle finger in length and the lotus is four finger-breadths [across]; it stands up a distance of eight finger-breadths above the navel. The stem of the lotus has nine gates? In it the pericarp, which is surrounded by filaments, is comparable to the [last] segment of the thumb [in size]. On the pericarp is [a disc of] the sun; in the middle of that is the moon; in the middle of the moon is [a disc of] fire; in the middle of the fire is the Lord.
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The Lord is Sadiva; higher still than him is [the supreme] iva. I shall tell you the dimensions created by iva of all these. One should make the [disc of the] sun somewhat smaller [than the pericarp]; similarly the moon; one should know the excellent disc of fire to be smaller than [that of] the moon, smokelessly pure, divine, like the risen sun [in colour], the very life-force of creatures bhtsumtram , [their] overlord, like a flaming ring.
Quite without my explaining further the reader may already have seen one thing that I wished to suggest by presenting these numerous thrones together. I suspect that the developed thrones that we began considering are the result of a blend of two old enthronement models: Further evidence for such a blending having taken place is the incoherence of some other accounts of thrones.
The Kiraa, for exam-ple, which might be characterized as a middle-period Siddhntatantra among the early that is, pretwelfth century AD Saiddhntika scriptures, and which we know to have been in existence at the latest in the ninth century AD, gives an extremely problematic throne. We learn that a pha is to be built that will be made of the whole cosmos adhvan.
The two highest reality levels of iva and akti are homologized with its pericarp and seeds. Similar equations of parts of this lotus within the body with the tattvas of the cosmos are to be found in Vaiava texts, for instance, in Lakmtantra Verlag der sterreichischen Akademie der Wissenschaften, , ff and the table on pp. Are dharma and the others homologized with the four yugas that were earlier said to be the feet? And why does Bindu appear here?
And if Ananta is the throne, then why is he beneath a Bindu that is surmounted by the lotus? The manner in which the well-known and very widely circulated eleventh-century Saiddhntika manual of Somaambhu integrates the lion-throne with the sprouting lotus is to have Ananta himself to be that lotus. When Ananta first appears above dhraakti he is to be visualized as having the form of a lotus bud,96 but this then sprouts up and opens to form the lotus above the level of the lions heads.
Ananta him-self is the lotus, or, as the Prva-Kmika suggestively expresses it Here, once again, the ocean of milk appears after a fashion that parallels the Pcartra throne-model. One should worship Ananta, the throne of iva, as mounted upon the turtle-stone [that is beneath the liga and as] having the form of an upright bud of a lotus that is white as jasmine and as the moon.
One should venerate that same Ananta-lotus, white, with its eight petals opened above the faces of the lions [that are the feet of the throne] and one should display the lotus-gesture. And most of these add a further complex-ity to the throne: These are, counting from the bottom in the order given in the Ajitgama Almost all the secondary literature anachronistically reads these five tiers back into earlier descriptions of thrones, which is why they must at least be mentioned in passing here; but no work that can be demonstrated to have been composed in the twelfth century AD or before has them.
I shall therefore not deal further with these five tiers here. The earliest Saiddhntika accounts are of the four-footed type and seem very simple: I have explained that it is a necessary but regrettable weakness of this presenta-tion that I am concentrating particularly on Saiddhntika sources that bear upon a subject that seems to be far from uniquely Saiddhntika. But it is in fact not unuseful to give special treatment to the Saiddhntika sources: Its influence in ritual is in fact remarked upon by the eleventh-century Kashmirian exegete Kemarja towards the beginning of his commentary on the Svacchandatantras treatment of daily ritual, for he there implies that in the practice of many wor-shippers a certain element in the daily worship taught in that non-Saiddhntika text is commonly wrongly substituted by the Saiddhntika norm the element in question is the placement of deities on the doorposts he observes: In short, it is clear that we should be ready to expect to detect traces of a lot of cross-system borrowing in the construction of a liturgy of visual prayer.
A given religious tradition may regard the texts of another as not authoritative 99 Ajitgama, kriypda The Ajitgama was first edited by N.
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IFI, , and ; see also, Ajitamahtantram. The Great Tantra of Ajita, ed. In this case, as in many others, I suspect that the Saiddhntika paddhati-tradition may have drawn upon the non-Saiddhntika Svacchandatantra, whose ideas have therefore been fed into the temple gamas known to us only from posttwelfth-century South Indian sources. We may note that entities with the names of the negative propensities of the buddhi, that is to say of adharma, ajna, avairgya, anaivarya, a feature that appears first to be traceable in the Svacchandatantra, appear to be absent from all pretwelfth-century Saiddhntika sources with the exception of the celebrated eleventh-century ritual manual of Somaambhu.
Moreover, the starting point in our discussion of aiva and Vaiava thrones was the observation that there was a considerable body of shared ter-minology. Thrones for other deities that are similarly calqued upon versions of For evidence of the dependence of Saiddhntika practice upon the influence of the Svacchandatantra in the tenth and eleventh centuries, see Alexis Sanderson, The aiva Religion among the Khmers Part I , Bulletin de lEcole franaise dExtrme-Orient [appeared in ] , ; Civanapotayantraclai, , Kaliyuga ] , kriypda 8: Sarmas Sanatorium Press, Here, according to the eleventh-century aiva guru Somaambhu, the construction of the throne begins with the veneration of an entity called Prabhtsana, and this is followed by ven-erating four legs called Vimala, Sra, rdhya and Paramasukha, then a lotus, on whose eight petals are eight powers called Dpt, Skm, Jay, Bhadr, Vibhti, Vimal, Amogh and Vidyut, with a ninth, Sarvatomukh, on the pericarp in the centre.
This is the throne for the sun arksana. Superficially, there may seem to be little resemblance to the thrones we have examined above, other than the fact that the lotus has eight petals, a detail so commonplace that it is hardly worthy of comment, and the fact that there are nine powers arranged on the lotus, just as there are nine powers on aiva thrones.
Vimala, Sra, rdhya and Paramasukha are the same as dharma, jna, vairgya and aivarya, and Prabhtsana is equiv-alent to Anantsana. Of course this is sun-worship as presented in a aiva source rather than in a Saura one, and so one might be inclined to suspect that the throne of a Saura-tantra would look very different, but, thanks to Dr Diwakar Acharyas work, we can now confirm that Somaambhus source for the throne of the sun was almost certainly the sole surviving solar tantra, namely, the Saurasahit of which Dr Acharya has now prepared a first edition.
Text with Introduction, ed.
Christine de Rivoyre
Motilal Banarsidass, , reprint of first edition printed in Calcutta in ] , or the accounts of smnyapj for Viu and others, of viupj and of gaeapj in Agnipura 21, 33 and 71, respectively; of navavyhrcana, vsudevapj, mtyujayapj, goplapj and rdharapj in Garuapura, prvabhga 11, 12, 18, 28 and 30, respectively; of viupj in Bhgavatapura with the commentary of rdharasvmin, ed.
Motilal Banarsidass, ] , This may correspond to the two sets of aktis one beginning with Vm and the other with Vibhu that we find in some aiva works, for example, Kiraa, The names of the throne-elements appear there in feminine forms and without mention of their visualiza-tion as lions. The omission of the latter detail could be variously explained: What can we deduce from all of the above?
The thrones of worship we have examined appear to be the fruit of a strange sort of dialogue between competitors. Rather than rejecting the imaginary creations of earlier rivals and beginning afresh, the religious minds who devised these thrones seem to have been inclusiv-ists: The more evolved and more complex scaf-folds that we examined at the beginning bear the marks of this inclusivist proceed-ing all over them in the guise of incoherences of structure and nomenclature.
The near constancy of such non-functional components or non-symbolic symbols as the three discs, which we have seen homologized with all manner of triads, can surely only be explained if we regard them as part of a shared inheritance so often remannered that their earlier role is past recognition. The most harmonious throne by far appears to be that of the ivadharmottara. For there, dharma is fittingly the bulbous root that is the fundament for religious life; aivarya is fittingly the lotus blossom in the heart on which the deity is enthroned, its eight petals being the eight yogic powers that constitute aivarya; and the three discs are fittingly Tamas, Rajas and Sattva, the three guas of prakti in the ontology of the Skhyas, the matter that is transcended by the enthroned deity.
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But we cannot of course con-clude from the appearance of this simple, harmonious and conceptually early throne in the ivadharmottara that this was the prototype or that it was necessarily a aiva creation. After all, the theists seem to have adopted and adapted this same ontology.
And in the case of this particular account of the ivadharmottara, we find it extremely closely echoed by an uncannily similar Vaiava account in Chapter of the Agnipura: Now the extant Agnipura is clearly a much later composition, but it is, as is well known, a scissors-and-paste redaction put together out of a number of disparate works. I am aware of no Buddhist textual See, for example, R. University of Dacca, , For a recent article that identifies more of the Vaiava tantric source material, see Marion Rastelli, The Pcartra Passages in Agnipura , in Mlanges tantriques la mmoire dHlne Brunner.
Tantric Studies in Memory of Hlne Brunner, ed. Dominic Goodall and Andr Padoux. Collection Indologie Pondicherry: This is of course well known from tantric Buddhism and we have alluded to this strategy as used within aivism, by the Trika, in our introductory abstract, but several other instances could be adduced.
Thus, the goddess Bhairavamagal rests on a throne that might have been drawn from a Saiddhntika work, except that it includes the corpse of Sadiva mahpreta , as does Bhairava in the Svacchandatantra, where the corpse is sentient sacetana and smiling. And we find both fierce god-desses, such as Kubjik, and mild ones, such as Tripurasundar, regularly said to be enthroned above five corpses pacapretsana , namely, those of Brahm, Viu, Rudra, vara and Sadiva.
This is an eloquent manner of expressing that, for instance, the Svacchandatantra is a revelation that encompasses the truths recognized by the aivasiddhnta, but that it also transcends them. Nothing so dramatic is to be found in the thrones upon which the mild, consort-less lacto-vegetarian Sadiva reigns; but it is worth briefly returning to Ananta at the base of the throne and considering whether some comparable fashion of Goodall et al.
University of Tokyo, Institute of Oriental Culture, ], ; , but they also stand upon aiva deities that they have emulated and transcended ibid.
The Kubjik Upaniad, ed. Teun Goudriaan and J. Schoterman Groningen Oriental Studies 10, Groningen: Egbert Forsten, , 2. For an image, see Mark S. Dyczkowski, The Cult of the Goddess Kubjik: Nepal Research Center Publications 23 Stuttgart: Franz Steiner Verlag, , Plate 1. For an image, see, for example, Dyczkowski, The Cult of the Goddess Kubjik, Plate 7, in which the five corpses appear simply as heads. I have suggested earlier that this Ananta seemed likely to have been originally the cosmic serpent at the base of the cosmos and likely therefore to have been incorporated into aiva thrones from a Vaiava source; but we have found no such source, and Ananta figures, without any serpentine characteristics, in what may be our earliest tantric thrones, namely, the two aiva thrones of the Guhyastra of the Nivsa and of the Svyambhuvastrasagraha.
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