TIBETAN TANTRICCHARMS ANDAMULETS230 Examples Reproducedfrom Original Woodblocks

SELECTION AND TEXT BY NIK DOUGLAS

Dover Publications, Inc., New York

The divinity Samantabhadra with his shakti (female energy) in the "father/mother" attitude: the germinal motif of tantric spells and charms. Tibetanaltarpiece of about the eighteenth century.

FOREWORD

Hardly any area ofTibetan art and culture has been somuch neglected as the vast field of illustrated tantriccharms and amulets, which are even today so much apart of the everyday life and experience of manypeoples of the Himalayan regions. This potent andexpressive art form has no doubt been overshadowedup to the present by the more obvious and openlyexposed Tibetan paintings and sculptures, which haveattracted considerable attention in the West in recentyears.

The protective spells, charms and amulets that con-stitute the subject of this study were hardly, if ever,meant to be seen, with very few exceptions. Most arein the form of diagrams or other representations ofsecret protective formulae, printed on handmade paperfrom the original Tibetan woodblocks. They rangefrom simple inscribed sacred phrases to edible charms,prayer flags, good-luck banners, auspicious emblems,cosmograms, psychocosmograins, tantric symbols,demon-binding amulets of all kinds, sickn~ss-euringamulets against stillbirth, smallpox, worms, syphilis,plague, insanity and a host of other maladies, charmsagainst malefic stars and planets, for wealth, pros-perity, long life, wisdom and favorable rebirth. Thereis hardly any real or imagined situation for which onecannot find the requisite visual representative counter-weapon.

The magical traditions connected to the activationand empowerment of these art forms have been indi-cated in our text, with full transliterations of the li-turgical phrases and detailed commentaries on thesym-bolism, use and connected rites. Thus the book offersmore than just the visual side of this art, but also itsphilosophical and theqretical structure as presented inthe Tantras. A large number of the examples involvecomparisons between the pre-Buddhist Bon traditionsof Tibet and those of all sects of Buddhism. In addi-tion I have often given several different versions of thevaried types, either because ofartistic merit or becauseof interesting differences of concept. In the Notes tothe Introduction and the Supp,lementary TextS andDefinitions I have endeavored to point out correlationsand rich areas for additional study, as well as supply-

ing copious reference material (with many quotations)and lists of sources.

This work could never have been undertaken with-out the patience and generosity of Lama KunzangRinzin ofAlmora district, India, who initially inspiredand encouraged it. The Gyalwa Karmapa, ofRumtekmonastery, Sikkirn, the Venerable Dudjom Rinpocheof Kalimpong, India, the Lama l)odrup Chen of theNamgyal Institute of Tibetology, G:mgtok, Sikkim,and Tulku TsewangofTragyam monastery, Namgung,Dolpo, N.W. Nepal, have all contributed examples andadvice. I am also indebted to Roger Williams, SimonWhite, Jerry Mitchell and Ian Alsop for generouslyproviding examples of prints from their collections. Iam most grateful to Dorje Damdrul of the Tibetancamp, Pokhara, Nepal, who accompanied me on aprint-collecting expedition to Dolpo, guiding me frommonastery to monastery and acting as assistant. AlsoI am thankful to the Government of Nepal, theTribhuvan University and especially the Vice Chan-cellor Sri T. N. Upraity, as also to the Institute ofNepal Studies, Secretary Basu Dev Tripati, and FatherL. Stiller, S. J., who helped greatly with advice andguidance in the early preparatory stages; also to theGovernment of India and the External Affairs Officein particular, for allowing access to the more difficult-to-reach areas.

I have endeavored to present this work in as un-complex though accurate a form as possible, yet withthe maximum of fme examples and clear informa-tive commentaries. If any errors have crept in I trustthat they will be seen in the context of this book as apioneer work on a large scale. I have tried whereverpossible to use terms that are current in Buddhist andphilosophical studies, defining where necessary. Theprints reproduced here have been carefully selectedfrom a wide variety of types and styles. I trust that thisstudy in Tibetan art and culture will be both visuallyexciting and philosophically stimulating, and that itwill poini out the richness of the field of Tibetantantricism.

N.D.

Tfeasury mandala ofSamantabhadra: among the most powerful protectivecharms. Another version of the final plate (see description and explanationthere).

The Buddha Amitayus: a charm for long life. Woodblock from N.E. Nepal,27 x 43 em.

INTRODUCTION

SPELLS, CHARMS, AMULETSAND TALISMANS

Throughout the ancient world magical protection inthe form of spells, charms, amulets and talismans wasmuch sought after. These sure prophylactics againstthe disruptions of destiny were utilized by every raceand religion as a means for treating disorders of thehuman psyche. In fact it is not so long since their usewas common in Europe, and even today there arenumerous countries of the world where such devicesare an integral part of everyday life as "prescriptions"for all kinds of real and imaginary situations.

By definition a spell is a verse or phrase of magicalpower, often requiring accompanying rites to bringabout an effect. A charm is a scheme ofspells, createdwith magical power and having an effect ofattractionor repulsion in the specific field of its action. Anamulet is an object, often composed in conjunctionwith written or recited spells, designed to be worn onthe body as a protection against specific effects. Atalisman is an object, design or figure, often incor-porating spells, worn as a protection against specificor general influences of the psychic realms.

According to tradition, the knowledge of spellsoriginated in the East with the dawning ofspirituality.Various researches have been published tracing con-nections between the magical fraternities of ancientEgypt, Babylonia, Iran and India, but very little hasbeen attempted with regard to Tibet on account ofthe difficulty ofcontact, language and concept, as wellas the secrecy of the esoteric traditions. The scienceand art of spells, charms, amulets and talismans wasperfected in Tibet to such an extent that it would be noexaggeration to say that for anyone with an interest inthe theory, practice and method of this particular fieldof magic there could be no better approach than astudy of the Tibetan tradition. Furthermore the art ofTibetan- charms and amulets is both spontaneouslyalive and penetratingly deep, characteristics which

recently have been associated with the art and philos-ophy of tantra.

TYPES OF TIDETAN CHARMSAND AMULETS

The various examples in this book have been takenfrom original woodblocks in the form of prints onhandmade paper. Woodblocks have been used forpreserving and printing the designs for all types ofTibetan charms and amulets since the introduction andspread of Buddhism there beginning in the seventhcentury A.D. It is possible that the pre-Buddhist Bonpriests also used woodblocks for printing effigies andcharms, though no early examples survive. The tradi-tion has been to copy older designs faithfully by carvingthrough a good or retouched old print or drawingpasted onto the block of wood. As blocks becam~worn, cracked, rotten or misshapen the design wouldbe copied and thus preserved. Inevitably corruptionsofa text or slight variations on a design would occur,and sometimes entirely new concepts were developed,but it is essentially a fact that the majority of Tibetanwoodblock protective designs have remained faithfUlto their most ancient origins.

Tibetan woodblock charms and amulets may bedivided into four distinct types, and each type may befurther classified according to manner of use. Themost common type consists of lines, columns orpatterns ofletters, verses or phrases, often without anyspecific translatable meaning, enclosed by varied outerforms. Such magical formulae are: (i) folded and wornas an amulet of protection; (ii) made into scrolls andplaced inside all types of prayer wheels; (iii) insertedinto religious images during rites of consecration; or(iv) rolled up and eaten as a medicine. .

Another popular type incorporates "lucky" orauspicious symbols or designs with magical phrases,enclosed .by varied outer forms. Such symbols are:(i) prominently displayed pasted on walls or ceilings or

FIG. I. Buddhist prayer charm of auspicious symbols,syllables and deities, for printing on paper or on cloth flags,to be openly displayed for attracting good luck, wealth,long life, happiness, wisdom and spirituality. At the centeris a stupa (tower shrine) with the Buddha, and, above him,the merciful Bodhisattva Avalokiteshwara. At top center isAmitayus, the Buddha 6fBoundless Life, with Marijushri,the Bodhisattva of Wisdom, at the left and the Protector

Vajrapani to the right. The complex monogram often seedsyllables below Manjushri represents mystic integration;the book and flaming sword below Vajrapani symbolizewisdom. At the bottom are shown auspicious animals,,birds, fruit, emblems, jewels and an old man in obviouscomfort. A disciple prays at the stupa. Woodblock fromThangboche monastery, Solo Kumbu, N.E. Nepal,30.4 x 46.8 em.

in shrine rooms; (ii) flown as prayer flags, printed oncloth or cast to the wind on paper; or (iii) occasionallyworn as a protection, in particular for attracting goodluck, wealth and happiness.

The third type is used as amulets, usually for gettingrid of malefic influences, banishing sickness-bringingdemons, as effigies f;r various magical rites or as potentprotections during any cris~. They commonly consistof a central figurative ~epresentation of a person,animal or particUlar demon surrounded by magicalphrases in precise patterns. Such amulets may also beentirely abstract in design, ~ncorporating oblongs,squares or crescents, and also occurring in conjunctionwith figures. Only the effigy type is displayed; theothers are "empowered" by a lama, folded, boundwith colored threads and worn as a protection.

The last and probably most important type is in theform of circular structures, "wheels," often incor-porating figures ofprotective entities with many heads,arms and implements, or simply representing circleswithin circles w~q phrases enclosed by the variousdivisions, or spir. concentric circles and distinctivepatterns of letters around a central axis. These are"psychocosmograms," mandalas, visual representa-tions of esoteric teachings, believed to confer theiressence as a protective circle, insulating the faithfulagainst psychic confusion, the influence of demons,enemies and the like. They are: (i) used as base struc-tures on altars; (ii) placed visibly on the ceilings ofmonasteries and shrine rooms; (iii) used personally asmeditation aids, particularly with specific rites andpurifications; or (iv) most commonly, worn as aprotective amulet, folded up, "empowered" by alama, and bound with colored threads. This fourth typeis believed to confer the greatest magical protection.

METHOD OF PRINTING

When a charm is to be printed, first a suitable ink isprepared from soot, burnt rice or barley grains, orChinese block ink is used; sometimes a bindingmedium is added, such as an animal gum, tree resin orgrain pulp. The ingredients of the ink are mixed with asuitable quantity ofwater in a shallow bowl. It is thenspread onto the woodblock with a brush or pad, thepaper is laid on top and pressure is applied with thehands through a cloth pad. Great care has to be takento ensure that the paper surface does not slip over theblock during printing. The quality of a print dependsas much upon the preparation of the ink as upon thefineness ofthe paper, which may be slightly dampenedto achieve a better result. Handmade paper prepared

INTRODUCTION xi

FIG. 2. The author and assistant printing from woodblocksin the Dolpo region, N.W. Nepal (Photo: J. Ziskin).

from tree bark or creepers, usually from Nepal, is theusual material, except for prayer flags, which areprinted on rough cotton cloth. Modem Tibetan wood-block prints are now more often printed with litho inkdiluted slightly with kerosene.

ACTIVATION OF THE PRINT

Traditionally the print is prepared by the local lamaor his assistant, with the exception of various typesof"luck " and "prayer" flags, which may be made byany layman. Charm or amulet prints are selectedaccording to the requirement and any additionalspecific features like names or syllables are added byhand. The print is dried and then read softly by thelama as an act of empowerment. Certain types areconsecrated by throwing a few grains of barley,colored rice, saffron water or other such items uponthe print surface, which is quickly folded, bound withcolored threads in various specific patterns, and givento the person who has asked for it. Often there areaccbmpanying ceremonies, burning of butter lampsand incense, or a small payment, in particular for thepaper, which has always been costly in Tibet. Finallythe charm is sewn into a small pouch and hung aroundthe neck, or kept within an amulet box.

X11 TIBETAN TANTRIC CHARMS AND AMULETS

FIG. 3. A completed charm (slightly reduced). This type ofcharm is empowered by the lama, then folded and tied withcolored threads, forming a mandala structure. It is thenseVllll,into a pouch.

ORIGINS OF TIBETAN CHARMSAND AMULETS

In tracing the development of the Tibetan Buddhistamulet, the purely Hindu traditions of India are ofgreat significance. The Atharva Veda is basically acollection of ancieht Indian charms and amulets thatgo back to the very beginnings of history. Many ofour examples of Tibetan charms upon analysis appearto be derived from or connected with the traditions ofthe Atharva Veda. In turn these are intimately relatedto the transmission of the Ayur Veda, the ancientIndian medical science, which makes use of varioustypes ofcharms and amulets according to an eightfoldclassification of treatment. Thus charms were anintegral part of the science of demonology/psychiatry(Sanskrit: bhuta-vidya,graha-vidya), used to bring aboutexorcisms and for correcting or placating maleficplanetary influences, believed to be the causes ofmanymental disorders. Other charms were used in pediatrics(Skt: kaumara-bhartya), toxicology (Skt: agada-tantra),rejuvenation (Skt: rasayana-tantra) and se~ diseases(Skt: vaji-karana), often in conjunction with othertreatment.. The Atharva Veda refers to amulets as "things with .

life," "born ofa god," and declares that "an amulet isa living force, betterthan a thousand medicines." Itseems that charms and amulets comprised the basis of 'the most ancient mfdical tradition, and that at a laterstage, when herbs and medicines were developed, both

kinds of treatment were utilized together. The samemedicinal and prophylactic objectives are still thosechiefly in mind for the majority ofTibetan charms, thestructure and linguistic peculiarities ofwhich frequent-ly point to origins in ancient India. Furthermore,many of the Tibetan charms consist of complexsyllables in Indian scripts of the early periods. Moredetails on charms in the Atharva Veda will be found inthe section of Supplementary Texts and Definitionsfollowing this Introduction.

In Vedic times pain, sickness, confusion and luckwere considered to have three origins: (i) supernatural(Skt: adi-daivika), (ii) physical (Skt: adi-bhautika) or(iii) spiritual (Skt: adi-atmika), and thus any treatmentshould commence only after first determining the typeofinfluence. Diagnosis was commenced with the studyofphysical features, observation of the effect of actionand in cases of supernatural or spiritual disturbancesthrough the understanding of omens, dreams anddivination.

In the Kama Sutra ofVatsyayana, the ancient treatiseon the art of love, 64 additional arts are advised forstudy. These are carefully listed and include "framingmystical diagrams, addressing spells and charms, andbinding amulets," "magic and sorcery" and "obtain-ing property by means of incantations." The medicaltexts ofCharakaand Sushruta similarly include chapterson the use ofcharms, amulets and talismans, specifyingwhich diseases may only be curable through them.

According to the pre-Buddhist traditions of Tibet,the Bon religion, "Shenrab (the fQunder) gave to theBonpos of Shangshung as Bon (Doctrine) the InspiredTeaching about charms and spells"I and the textknown as the Shen ofPrediction Z declares that" curingis of four main kinds: medicine, bleeding and brand-ing, tranquilIizing with method, and spells." A fairlysubstantial number of our illustrated examples are ofBon charms from northwestern Nepal, and it isparticularly interesting that some of them seem toinclude invocations that are Hindu in conception,whereas others seem to have developed quite inde-pendently.

With regard to early Buddhism as it developed inIndia, generally speaking Gautama Buddha himselfdid not stress the use of charms, spells, amulets ortalismans, and was in fact antagonistic to many of thesuperstitious Hindu rites, sacrifices and sorcery of histime. Nevertheless it seems certain that he did utilizesuch means in particular instances, especially for con-veying mystic truths inexpressible by any othermethod. Quite a large number of charm phrases aretraditionally attributed to Buddha, and there areaccounts in the Sutras that tell of instances where he

repeated spells, uttered mystic sounds and exhibitedsupernatural powers. It has been suggested that even-tually Buddha instructed particular gatherings ofpeople in specific charms since he realized their potentpower.3 In :t- story tld in the Sardula Karnavadana,which was translated into Chinese in 265 A.D., Buddha'sdisciple Ananda becomes bewitched by a love charmprepared by the mother of a low-easte girl, asksBuddha for help and is saved by a protective formula.4Another storyS tells how Buddha received a spell inverse fi1>m four guardian entities and repeated it forsome of his monks as it was suitable for protectingagainst evil spirits.

The earliest Buddhist charm text is to be found inthe Saddharma Pundarika of the first century A.D. Othertexts are in the Sukhavati Vyuha of the second century,after which period they become quite common. hiparticular the Manjusrimulakalpa and the GuhyasamajaTantra are the early reference works to which many ofthe Buddhist charms relate.6

During the early spread of tantta in India the use ofcharms and amulets became very common. Charmswere conceived ofas the sure and easy way to have theprotection ofall-powerful deities, for the forces whichthey represented had become deified and worshippedas patron gods and protectors. This period heralds thebirth of Buddhist iconography, of which more will _be said later. Great tantric colleges were well establishedat Nalanda and Vikrampur in eastern India, where thestudy ofcharms was a science right up to the Mosleminvasions of the eleventh century onwards. During theprevious centuries Tibetans had been making their wayto India in order to gather spiritual teachings. GreatIndian teachers such as Padmasambhava, Vimalamitraand Atisha traveled to Tibet spreading the dynamictantric doctrines known as the Vajrayana. It wasduring this era that Buddhist charms were firmlyestablished in Tibet, incorporating many factors ofindigenous belief. It is difficult to discern anything ofthe specific nature of the pre-Buddhist charms andamulets of Tibet, especially since the whole religiousstructure was so effectively amalgamated into one unit,Lamaism. Some Bon concepts concerning charms aregiven in the Supplementary Texts.

Mter the initial impact of the Moslem invaders onBuddhism and on its huge establishments in India, theHindu traditions grew stronger there and a greatreligious revival took place. The voluminous textsknown as the Puranas were produced, incorporatingBuddhist theories with earlier practices. Many typesof spells, charms, amulets and talismans were revivedor created and specific details of their use we~e given.Later th$s~_

FIG. 4. Protective charm mandala of Vajravarahi. At thecenter is the seed syllable bam with the other syllables IIi, sa,ha and ri on the lotus petals, resting within a series oflotuses encircled by scepters and a six-pointed star leildingto eight crematiop. grounds. a scepter chain and a wheel offire !poving to the left. At the four corners are mystic

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chopper knives, symbols ofthe ego-slaying function of thegoddess Vajravarahi. whose seed sound is bam. Accordingto tantra, the mantra is the deity. Woodblock fromYangser monastery, Nyisal, Dolpo, N.W. Nepal, 26.6 x

.294cm.

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~.;-[,FIG:~5.,A Tibetan painting of the goddess Vajravarahi emanating as a mandalafrom a six-pointed star. Tutelary deities are shown below, Kargyudpa lamasabove, and the eight Auspicious Emblems within circles around the central motif.Such paintings are used by lamas and monks for aiding the development ofvisualization, itselfan important technique in the activation of charms. Thangkafrom N.W. Nepal of about the sixteenth century.

The reverse of the preceding painting, shown inscribed with the syllables andcircular dharani of the Vajravarahi mandala. The central seed syllable here is hri,expressing the "activity" of the goddess, with the other syllables ni, sa, ha andri at the different directions. The" empowerment" seed sounds om, ah and hum areplaced behind the figures of the tutelary deities and lamas. Most Tibetan paintingsare inscribed on the reverse with the seed sounds, dharanis and empowermentformulae, indicating that they are consecrated.

FIG. 6. The goddess Vajravarahi as she emerges from the holding aloft the chopper knife and skull bowl; a tridentseed syllable bam, wrathful and dancing ecstatically, staffis held under her arm, and her" third eye" ofenlighten-trampling underfoot the ego and all illusions. She has a ment is shown wide open. Rays oflight emanate from hersow's head attached to one side ofher neck, is crowned with body, behind which is an aureole of flames. Two humanskulls, wears the ornaments of Mahamudra, a garland of skulls on tripods are at the sides. Woodblock: from Soloskulls representing the seed sounds of the univeI'SCt> She is Kumbu, N.H. Nepal, 22.6 x 29.lCDl.

in the latter case developing as the alphabetic vowelsand consonants. 1O Seed syllables may combine ac-cording to precise affinities as sound fdrmulae (Skt:mantra), which are of many kinds, and which mayormay not convey a meaning. Nevertheless they arefilled with cosmic po!ency, for they are natural pre-cipitations in the realms of vibration and may beutilized to bring about psychophysical transformations.

There has been a great profusion of opinion con-cerning the defmition and properties ofmantras. Ratherthan engaging here in a detailed analysis, I haveincluded relevant material in the SupplementaryTexts and Definitions which may be utilized by thosewho wish to pursue the matter further. The etymologyof the word points to the root man, meaning "tothink," and the suffix ';'tra, indicating "instrument."Thus a mantra is an instrument of thought, a "magicalformula," which is exercised as the main support ofall kinds of charms, spells and protections.

Magical formula (mantra) is related to magical dia-gram (yantra), both in its structure as letters and withrespect to the natural form evoked by the vibration.Furthermore, there is a connection between sound,form and color.n Thus tantras indicated the inter-woven structure of forces and energies, pointing outmethods of approach according to traditions based onYoga experience.

Every mantra has an energy (Skt: shakti) whichexpresses itself as divinity (Skt: devata) to the yogi indeep concentration (Skt: dharana). The Advayavaj-rasamgraha, an early Vajrayana work, clearly states thesituation: "From the right perception of Voidnessproceeds the seed syllable, from which emerges theconception ofan icon and its external representations."This is the beginning of iconography, the science ofdivine relationships expressed as icons, which hasproduced such a vast spectrum of deities and a tre-mendously rich field of art.

The seed syllable (bija) or magical formula (mantra)actually is the deity. This is the tantric concept,profound in its simplicity, which forms the myriadof diverse aspects, entities, protectors, tutelary deities,gods, goddesses and the like. One further step is neededbefore we' can complete our discussion of the theoriesof spells and charms. This is the concept of enclosure,the insulation of one level of reality from another bymeans of protective circles or mandalas. By definitiona mandala is circular in structure; it is "the whole,"representing the universe in its completeness, as a" psychocosmogram" in particular instances.1Z _

Spells and charms (Skt: dharani) are transmittedrevelations of power structures within the psyche,which ~y be utilized as supports for concentration

INTRODUCTION XVll

(Skt: dharana) or as amulets and talismans for pro-tection against demons, influences, diseases or spellsand charms. Dharani literally means" she who upholdsor encloses." In Vedic times charms were employedas supports, defenses, protections and talismans. I3Synonyms of dharani are the Sanskrit terms kavacha(" protection") raksha (" breastplate") and vidya(" science"), the Pali pariUa or pirit (" power-upholder") and the Tibetan shok-rta (" charm for-mula "), sNgags (" charm"), Srung (" amUlet") andgyangrten ("talisman"). Magical formulae (mantra) andspells or charms (dharani) are always intimately con-nected; often no differentiation is made between thetwo. Both are revealed spontaneously in trance statesand are to be transmitted directly "by word of theMaster," "by empowerment" or through meditation.Both are essentially convergences of the fundamentalsof secret initiatory language, "empowerments" ofnatural cosmic origin, pregnant with unlimited powers.The knowledge of the characteristics of mantras anddharanis determines their value for incorporation asprotections, amulets and talismans, according to theirinherent potencies.14

According to the Vasuvandhu,IS an early Buddhistwork, the dharanis of the Bodhisatrvas are of fourkinds: (i) dharma dharani, which gives memory (Skt:smrti), intellect (Skt: prajna) and strength (Skt: vala);(ii) artha dharani, which gives intuitive power and theability to understand the significance (Skt: artha) ofimmutable nature; (iii) mantra dharani, which leads toperfection; and (iv) ksanti dharani, which gives rise totranscendental merits.

Tibetan traditions categorize dharanis as (i) power(Tib :gZungs), (ii) wisdom (Tib: Rig) or (iii) secret (Tib:gSang), and activate them accordingly.I6 Traditionallya number ofdharanis trace their origins to instances inthe life of Buddha,17 to utterances of important teach-ers and yogis,IS or to mystic manifestations of thedeities in exceptional circumstances. Dharanis have been"retrieved from the world of the Nagas " (thePrajnaparamita-dharani) , miraculously discovered hid-den in rocks, images and lakes ("treasury" dharanis),seen as visions and then recorded, precipitated inphysical forms from the heavenly realms, or foundamongst the funeral ashes ofgreat lamas. As a help tofurther research I have added an extensive referenceselection in the Supplementary Texts devoted entirelyto the fascinating concepts of dharani.

MAGICAL RITES CONNECTED WITH -CHARMS AND AMULETS _No study of charms and amulets would be completewithout some additional inform~tion concerning the

xviii TIBETAN TANTRIC CHARMS AND AMULETS

magical rites related to them. There are six Buddhisttantric rites (Skt: satkarma), all of which are associatedwith the making of charms. They are known as the"cruel rites," largely because of their popular misuse:(i) shanti, the. rite of removing diseases, placatingplanetary influences arid star clusters, and saving fromthe effect of evil karmas (activity accumulations); (ii)vashikarana, the rite of bewitching, generally of men,women, animals or gods, in order to get work done orto achieve a specific effect; (iii) stambhana, the rite ofstopping all action through imparting a kind ofparalysis (it is even applicable to the elements, such asstopping fire from burning or water from wetting, asalso to "paralyzing an army"); 19 (iv) vidvesana, therite of separation, as of friends, lovers or enemies, andalso the reverse effect; (v) uccalana, the rite of makingenemies flee, banishing demons of a high order orexpelling powerful sicknesses, by means of wrathful-ness; (vi) marana, the rite ofkilling "compassionately,"without any harmful karmic effects (to be used only inextreme instances when there are no other alternatives).

These six tantric rites are to be performed accordingto the traditions of a transmission through a teacher(guru), and precise details are always to be observed,such as the time of the rite, the astrological influences,the seed syllables and visualizations to be concentratedupon, the mystic gestures (Skt: mudra), the direction tobe faced, the preferred seasons, t~e psychological stateof the practitioner, the manner ofgazing, the methodsof reciting the magical formulae, as well as the ac-companying oblations and ritual materials. Accordingto the important Buddhist tantric text of theSadhanamala:

For removing diseases the mind should be peaceful,for stopping action and separation it should be thriv-ing, for bewitching it should display anxiety and forkilling it must be in a greatly troubled state. Re-moving diseases is best performed on the first day ofthe lunar fortnight, stopping action and separationon the full-moon day, bewitching on the eighthday and killing on the fourteenth day of the moon.Likewise for removing diseases one should face northon an autumn evening, for stopping action and sep-aration one should look east one early spring morn-ing, for bewitching to the west in the winter, and forkilling one should look south one summer at mid-night or noontime.

Traditionally there are six different ways ofrecitingthe mantras: (i) grathana, generally used for the rite ofremoving diseases (shanti) , consists of reciting themantras on each ofthe letters ofthe name ofthe person;(ii) viJarbha, used for the rite of bewitching (vashi-karana), consists of reciting the letters of the name of

the person between the letters of the mantras; (iii)samputa, used in the rite of stopping all action (stam-bhana), consists ofreciting the mantra at the beginningand end of the name of the person; (iv) rodhana, usedin the rite of separation (vidvesana), consists of recitingthe mantra at the beginning, middle and end of thename ofthe person; (v) yoga, used in the rite ofmakingenemies flee (uccatana), consists of reciting the name ofthe person at the end of the mantra; (vi) pallava, usedin the rite of compassionate killing (marana), consistsof reciting the mantra at the end of the name of theperson.

For the recitation itself there are specific details ofthe types of rosaries to be used for counting therepetitions. The Hevajra Tantra, an early Vajrayanawork which includes many spells and charms, declares:

For stopping all action one uses beads of rockcrystal;

For subduing, red sandalwood beads produce thebest result;

For bewitching, use beads from the wood of thesoapberry tree,

And for causing separation one uses beads of humanbone.

When dtiving away one uses the bone from a horse;For conjuring forth use the bone of a Brahmin;To cause rain, the bone of an elephant,And for killing, the bone of a buffalo is best.

For propitiation oblations one should use sesameoil;

For bestowing prosperity, use curds or milkproducts;

For killing, causing separation or other cruel rites,Use thoms, and for subduing, a blue lotus flower.

Other fascinating details outlining the methodologyof magical practices of the tantric period are to befound throughout the vast literature. Thus, in the sameedition of the Hevajra Tantra we find the followingdetails:

For overthrowing, the eyes should be level withthe gaze directed upward toward the forehead;

For subduing, the gaze is directed toward the left;For conjuring forth, the two eyes are directed

upward toward the right;For stopping all action, the gaze is central, with the

eyes looking toward the end of the tip.of thenose.

Overilirowing is accompanied by exhaling,Subduing by inhaling,Conjuring forth by holding the breath,

. Petrifying by a tranquil pose, just as one is.

The Tibetan commentaries on these portions of thetext, available in English translation,20 ;ldd practicaldetails: '

In order to perform these four magic rites one shouldcorrectly carry out the meditation, recitation andoblations: -One may test this out on solid objects sothat one's practice may be said to be sure. Thus, in therite ofkilling, direct the gaze toward a green tree and

.see if it dries up. If so it will apply elsewhere. In asimilar manner direct the gaze and breathing at a hardfruit, conjure it forth and see if it becomes ripe. If soit will apply elsewhere. Likewise direct the gaze onsoft grass blown by the wind, or on the hair of ahorse's tail, and if it becomes unmoved, with noaction, understand that such an action will applyelsewhere.

The commentaries also tell us that the killing ritesshould be used for frightening beings, to put them onthe right path. However, in the life story of Pad-masambhava,21 on several occasions the hero takes lifeby this magical means, in one instance killing all thebutchers, justifying this as an act of compassion,breaking otherwise everlasting karmic bonds.

Charms, spells, talismans and amulets, if effective,must surely interfere with karma, the force ofdestiny,and therefore this factor must also be given dueconsiderarion. Tradirional accounts tell us that thekarma of the charm holder is taken into the care of thelama, who is able to purify it through the power of thedharani or mantra and to balance everything by hiscompassionate nature and accumulated merits. Thus,a potent charm requires a good lama to make iteffective. It would be no exaggeration to say that thelama's empowerment is more sought after than anyparticular type of charm, though the two factorsworking together with their respective potencies arebelieved to be able to bring about almost any situation.Finally, for a charm to work there must be a "ground"of faith and expectancy, a natural requisite for thepractice of sympathetic .magic. There is a Tibetanpopular saying which expresses the situation clearly:"When properly used a charm can work wonders, butused in the wrong manner it is a deadly poison."

The rites associated with individual Tibetan wood-block charms and amulets vary considerably accordingto their respective types and also to the traditions ofthelama performing them. Simple annual charms forhealth, happiness and prosperity are generally ac-companied by food offerings and token payments tothe various entities invoked and placated. Almost anyprocedure is suitable provided it be spontaneous and"attractive to the beings invoked." Rites for varioustypes ofprotections and sickness charms are determined

INTRODUCTION XIX

by consulting the manuals on the subject22 and mayinvolve complex offering cakes (Tib: torma) , ritualingredients and careful instructions to be followed.Empowerment rites for spiritual awakening also tendto be complex, though in some cases the lama may justblow on the charm print, tie it up and bestow it, all ina few moments. All kinds ofrites require some degreeof liturgy, ranging from a hardly audible murmur tothe loud chanting of a roomful of people. For thepower of any charm rests in the sound formulae(mantra) of the empowerments. These may be eithersubtle (hardly, if at all, audible) or gross. The formertype is considered to be the more potent. Types ofmagical powers and their acquisition are listed in theSupplementary Texts.

THE ART AND SYMBOLISMOF THE PRINTS

Tibetan woodblock charms and talismans are alwaysvital in their expressiveness, even those which wouldnormally never be seen, except by the lama at the timeofempowerment. They are certainly powerful in theirvisual impact, incorporating an entirely new realm ofpsychologically rich and important symbolism, intactin its true context. Many of the designs are intricateand elaborate, while others are rough and forceful, yetall show a tremendous feeling and artistic expressionof a very high order. Some are tiny, others huge, withevery possible shape and variety. The skill and patiencerequired to carve many of the original blocks canhardly be imagined, even in the simplest instances oflines ofscript within a frame. Tibetans have excelled inthis art form since the earliest times, with the result thatit became quite common for ordinary villagers withlittle or no education to be able to produce really fmewoodblocks as their contribution to the religiouscommunity. It has taken a number ofyears for Tibetancharm prints to come to the surface and be shown inrelation to their content and as the potent art which theyundoubtedly are. Perhaps the main reason for this isthe secrecy of the tradition and a natural reluctance toexpose those charms, protections and talismans inwhich so much power rests.

Many of the symbols are to be found in tantricpaintings, ritual texts and pilgrimage places, and arealso carved on temples, shrines and monasteries inIndia, Nepal and Tibet. Some are complete abstrac-tions, familiar even to the West. There are representa-tions of men, women, animals, birds, fishes, demons,spirits, mythical creatures, houses, temples, imple-ments, weapons, auspicious. emblems (such as theconch, wheel, banner and umbrella), simple syllables,

xx TIBETAN TANTRIC CHARMS AND AMULETS

complex monograms, psychic structures and a vastrange of mystic circles, mandalas and cosmograms ofall types. In the captions to the illustrations I haveendeavored to include as much information as possible,without taxing the patience of the reader. I have in-cluded; whereyer possible, the full Sanskrit trans-literations of the Tibetan texts of invocations anddharanis, for these are essentially the "power" ofeachrepresentation. Since they were never meant to be"understood" as language with "a meaning," theirvalue as liturgy remains. Rather than entering into adetailed analysis

1968), vol. II, p. lxviii of the introduction. Also thedharani of the dhyani Buddhas, referred to extensively inthe introduction to Indian Buddhist Iconography, edited byB. Bhattacharya (Calcutta, 1968).

18 For instance, Atisha used to utter Ati Bhala, Ati Mangaland other dharanis which were noted by the Tibetans.This is referred to in Indian Pandits in the Land ofSnow, byS. C. Das (Calcutta, 1965), pp. 80-81.

19 In an account of Atisha's journey to Tibet (IndianPandits in the Land of Snow, by S. C. Das, Calcutta, 1965,p. 74) there is an interesting reference to the use of thestambhana rite with charms: "Attempts were made toassassinate Atisha, by sending after him eighteen robbers.As soon as they saw his venerable face, the robbers werestruck dumb, and stood motionless as so many statues.Having advanced a short distance, Atisha said: 'I pity therobbers.' So saying he uttered some charms, drawingfigures on sand, which had the efficacy of restoring thestupefied to their senses." In the life stories of the Karmapas(Karmapa: The Black Hat Lama of Tibet, by Nik Douglasand Meryl White, London, 1974) there is a reference toKarma Pakshi, the second Karrnapa, "paralyzing" thesoldiers ofEmperor Kublai Khan with a mystic gesture.

INTRODUCTION XXI

20 The Hevajrapindarthatika of Vajragarbha, in The HevajraTantra, translated by D. L. Snellgrove (Oxford, 1959), p.85, as foomotes.

21 The Tibetan Book of the Great Liberation, in translation,edited by W. Y. Evans-Wentz (Oxford, 1954), p. 138. Thesame book contains an interesting commentary on thekarmic taking of life (p. u6), as well as many references tothe use of charms by Padrnasambhava.

22 Such a manual is the bLa-ma-i-Gong-dus-pe'i, pages ofwhich appear as illustrations 225 and 226 of this volume.Charm manuals exist in all magical traditions, both Easternand Western. An interesting Hindu manual is the KamaratnaTantra (available in English, Shillong, 1928), edited byHemchandra G. Tattabhusan. It is concerned with the"Six Rites" and their application as spells, charms andamulets, and gives the complete details of approximatelyu6 different kinds, their diagrams (yantra) and invocations.Many ofthem, related to the much earlier Vedic prototypesyet far more detailed, are so close to those in the Tibetantradition and especially those contained in the bLa-ma-i-Gong-dus-pe'i text tjlat there can be no doubt about theconnections. Various Hindu Tantras and Puranas are foundto include charms, spells and talismans ofsimilar types. Seethe Supplementary Texts for a few comparisons.

SUPPLEMENTARY TEXTSAND DEFINITIONS

CHARMS IN THE ATHARVA VEDA

A multitude of protective hymns, invocations, spells,amulets and charms are to be found in the AtharvaVeda, available in several different translations. I haveconsulted the translation and useful commentary ofR. T. Griffith (Hymns of the Atharva Veda, two vols.,

. Benares, 1968) and here refer to volumes and pages ofthat translation in giving some of the different typesfor comparison with our Tibetan examples: success ingambling (I, 42, 183, 380), against an opponent indebate (I, 66), protection and general prosperity (I, 45,196,234,360, II, II), for lengthening life (I, 57, II, 202,po), long life for a boy (1,67), to restore life and health(I, 238), to remove sterility and secure a son (I, II6,250), to win the love ofa girl (I, 70, II9, 248, 249), tosecure a husband for a marriageable girl (I, 78),countercharms against bewitching (I, 49,156,210,241,II, I), to defeat enemies in battle (I, 81, 220, 222, 281),to make a poisoned arrow harmless (I, 136), againsttigers, wolves and thieves (I, 133), for controlling fire(I, II3), to hasten the coming of rains (I, 150, 344),against bad omens (I, 122,260, 261, 358), for inducingsleep (I, 135), against nightmares (I, 378, II, 203, 314),for superhuman vision (I, 159), to acquire wealth (I,141,212, II, 208), against snakes (I, 120,208,250,276),against insects and pests (I, 273), against evil creatures,fiends and ghosts (I, 61, 62, 236, II, 294), againstinsanity (I, 306), to be rid of jealousy (I, 108, 254),against abortion (I, 64), for use during childbirth (I, 14).There are many charms against all kinds ofsickness anddisease, including dysentery, constipation,. fevers,headache, coughs, jaundice, leprosy, worms, brokenbones, parasites, poisons, bites and plagues.

According to Dr. V. W. Karambelkar, in hisinteresting book The Atharva Veda and the Ayur Veda,Nagpur, 1961: "The charms ofthe Atharvan have, for

the first time, established relations between demonsand diseases. A particular demon causes a particulardisease" (p. 40). He proceeds to distinguish four maingroups of such demons: (i) Pishachas (" flesh-devouring," they affect through food), (ii) Rakshasas(the most common disease-bringing types), (iii) Atrins(associated with fevers) and (iv) Kanvas (they bringabout abortions), as well as including various types ofGandharvas and Apsaras. He has a number of inform-ative things to say about the connections between theAtharva Veda and the medical texts of the Ayur Veda,including some details on the preparation of charmsand amulets. '

With regard to the identities of the various types ofspirits and demons mentioned in the Atharva Veda andother related texts the work of A. Danielou (HinduPolytheism, New York, 1964) is of great help.

The main reference works on the Ayur Veda, bothof which include mentions ofcharms and amulets, areThe Charaka Samhita (Calcutta, 1890), translated byK. Kaviratna and The Sushruta Samhita (Calcutta,1916), translated by K. Bhishagratna.

CHARMS IN THE HINDUPURANAS AND TANTRAS

Many protective charms, spells, amulets and talismansare to be found in the Hindu Puranas and Tantras ofthe medieval period. Many are surely connected withtheir Buddhist counterparts. I here give a few examplesfrom published English translations.

From the Garuda Purana (translated by M. N. DuttShastri, Benares, 1968):

The intelligent one should meditate upon theMandalas respectively colored as aforesaid at the timeof practicing the incantation. The feet, pinions andbills ofGaruda should be contemplated as ornamented

XXIV TIBETAN TANTRIC CHARMS AND AMULETS

with rings of black snakes. This figure of Garudashould be invariably meditated, upon in cases ofanimal or vegetable poisoning. The figures of ma-lignant sprites, planets, Dakinis, Yakshas and Rakshasshould the, votary likewise imagine as located in hislimbs, ornamented "'lith black serpents, by an act ofempowerment. The Mantra kshaum should be imag-ined as located in the pollens of the occult lotus. Thespecified letters should be imagined as impressed onthe petals ofthe mystic flower, and the vowels two toeach pollen wherein the gods such as Isha should beworshipped. His body is made of the energy of themantras and the votary should contemplate all acts ofincantation as effulgent, like the fire of universaldissolution. By performing the empowerment avotary becomes himself a garuda [mystic bird].Ghosts, demons, monsters and other entities as wellas all kinds of fever are dispelled by this incantation(p. 685; see our garuda charms, Nos. 162-165)..For neutralizing the heat of fire, take the belly of afemale crow, reduce it to powder and then into a pastewith the addition offrog's blood. Beat this mass intopills. By casting these pills into the fire, while recitingthe mantra om-agni-stambhanam-kuru-kuru the intelli-gent one is sure to bring about the desired result(p.647).Recitation of the mantra om-hrum-jah destroys allkinds of scorpion poison (p. 648).The mantra om-tha-tha-!ha should be employed inconnection with all acts of charming (p. 638).In the Kamaratna Tantra (translated by H. G.

Tattabhusan, Shillong, 1928):The yantra should be written on a palm leaf with athorn, after which it should be kept embedded in aclayey soil, having written the name of the person.Thus he will be pacified even when he is in greatanger (No. 23, p. 27).The yantra should be written with ox gall mixed withthe extract of palasha flowers (Butea frondosa). After

.writing the name ofthe person on the yantra it shouldbe placed in an earthen pot ofmilk. Thus all the mis-fortunes of that person will be prevented (No. 39,P35).In the Kakachandishwarakalpa Tantra (translated in

manuscript by J. Mitra):The rnayurashikha plant (Celosia cristata) should beuprooted in the night of the fourteenth of the darkside of the moon, having charged it by repeatingthe mantra om-nama-kharamukhaya-shaktihastaya-yamapuravahanaya-karmadaksaya-osadhirajaya-tha-tha-swaha, and ifits root is tied as an amulet it will driveaway all malefic planetary influences. If put on thehand there need be no fear of scorpions.

The Kamaratna Tantra is particularly interesting forits further elucidations on the Six Rites (satkarma) ,particularly since these are more commonly related tothe Buddhist tradition.

CHARMS IN THE BONPOTRADITION

Very little has been done in the field of Bonpo studies.The main work ofreference, by D. L. Snellgrove (TheNine Ways ojBon, Oxford, 1967), does include someinteresting concepts, from which I quote:

For devils, fiends, she-demons, spirits of death, devilswhich attack men's length ofdays, sprites which causeimpediments, and devils which attack the life force,against these establish life ransoms, life pledges andamulets. Pay debts of evil with life ransoms as pay-ment for life.Worship the Eight Gods who preservelife and happiness. Reverse the troubles that befallmen and save them from their impediments. Thus oneis ransomed from death and fixed up with an amulet,and so you should produce benefits, joy and happi-ness for living beings (p. 35).In order to produce long life, happiness and goodfortune for those creatures called wretched men,perform the "striking" rite, combining use of ritualdevices. On some clean place as a working base drawa swastika design in grain. Prepare all the devices forthe rite, the implements and talismans. Bring allphenomenal elements into an interrelation. Pro-nounce the blessing of interrelationship, and beingswill be cured with benefits and happiness(p. 35).For all living beings afflicted with attacks by theeight kinds of sprite, by hating and consuming godsand demons, you must perform the" exchange" riteof transposing two equal things. Prepare the ritualdevices and items, the right-sized figurine as ransomfor the patient's body, the sky symbol, the tree sym-bol, the arrow, distaff, ritual stakes, a male figure,female figure, the rock plant and mustard seed, amodel of the house, its wealth, and the things onedesires. If they are exchanged as equal things, theransom will be good (p. 37).For removing the nine demons one must do the"exposition" ritual. For suppressing ~he ten vampiresone must do the "vampire" ritual. For rebuttingimpediments one must do the ritual against troubles.For happenings in dependent relationship, do the..calculation" ritual (p. 75).In a wild and fearsome place prepare the magicreceptacle of the ferocious triangle, and set to workwhen the stars and other prognostications are aus-picious. Meditate on the Fierce One as the presidingdivinity, and suppress as demons all antagonistic false

views. Pierce the Circle ofLife to the heart. Take theinfallible Life letter as the symbol. Encircle the heartand reduce it to subjection (p. III).The Circle of Life practice contradicts normalpractice, but to raise the position of the ignorant iscoherent in result (p. 107).The man who is clever in methods reverses bymagical force all evil portents and injuries (p. 71).Meditate on the Gods ofIllusion and mutter powerfulspells. Fix the boundary of the profane (outside) andthe sacred (inside), and undistractedly practice invoca-tion and conjuration (p. 99).The potency of the White Waters emerges in thespells (p. 51).

CHARMS IN THE TIBETANBUDDHIST TRADITION

A very great number of Tibetan charms are men-tioned in passing in a work by Rechung Rinpoche(Tibetan Medicine, London, 1973), which includes atranslation of the fabulous life story of the Tibetandoctor Yuthok and accounts of the transmission ofmedical knowledge of all types to Tibet. I quote fromparts relating to our study, dealing with "wheel"charms (of a mandala structure), of which many areincluded in illustration. In the story, the Dakini(supernatural woman) Yid Phrogma visits an ancientRishi (sage) in order to acquire knowledge:

He gave her the invisible-making charm, protect-ing her from the wild men of the jungle,

And the wheel in which to spellbind the power ofkings,

And a wheel to work spells on courtiers,And a wheel to numb generals and make them

immobile,And spells to make kings crawl before you-The courtiers will obey every nodded sign-A wheel to keep the people in order,A wheel to infatuate men,And a wheel to bind and to beat.Wheels to ward off evil visitations,To subdue your enemies,The wheel of various magical articles and

mantras,The wheel to make obedient,A wheel to make men follow you,And a wheel to make women follow you,Turning their minds in your favor (p. 157).Later the Brahmin Yenlag adds the following charms

to her repertoire:

SUPPLEMENTARY TEXTS AND DEFINITIONS XXV

He gave her the wheel of victory,And the wheel to keep the wars away,And the wheel to protect from the enemy,To drive them out and make them tum against

each other.And the wheel of fire for burning,And the wheel of air for causing explosions to the

enemy,And the wheel of water to cause floods,The wheel of iron for cutting,And the wheel of wood to bring to you,And the one for breathing fire.Then he said, "Listen, keep this wheel on your

body,Against the poison of the Nagas, and go to visit

them" (p. 159).Two later extracts:

From the Black Garuda, King of Achara:The wheel to dispel maledictions and the wheel to

undo magic wrought by heretics.The wheel of success in growing medicinal plants,And the wheel for ripening medicinal fruits (p. 161).Then the heretics got angry and used black magicagainst her. Yid Phrogma turned the wheel to driveaway the heretics' magic. Once, when she wasstaying with the King on top ofthe palace, she felt theimpact ofaxes, spears and other weapons hitting her,which were sent by the black magic of the heretics.She turned the wheel and they could not harm her(p. 169).There is an interesting reference (p. 277) to the treat-

ment of disease by the use of imagination. A charmcalled Dug-gsum Hchhing-ba Rang-grol is said to "driveaway a great diversity of diseases through the use ofimagination." The treatment ofrabies by charm is alsomentioned (p. 276).

DEFINITIONS OF MANTRA

A great deal has been written about mantra, whichseems to have so many definitions and connotations.I here give some of the varied renderings, with otherrelated aspects of interest.

In the works ofSirJohn W oodroffe (Arthur Avalon) :Mantra is the sound-aspect ofall that is. Each devata[deity] has his or her own mantra. The mantra doesnot merely stand for or symbolize the devata. It isthe devata (Sakti and Sakta, Madras, 195, p. 451).It is true that mantra is meaningless-to those who donot know its meaning (ibid., p. 482).The root man means "to think" and the suffix -traindicates the "saving" character of mantra. I have

XXVI TIBETAN TANTRIC CHARMS AND AMULETS

elsewhere spoken ofmantra as "a power in the f9rmof idea clothed with sound." ... Mantra meaI1S{thoseletters or combination of letters which are used inUpasana and Mantra Yoga, and are the mantras ofthe devatas of Shastrik worship (Garland of Letters,Madras, 1963, p. -197).Mantras are given various names according to thenumber of their syllables. A bija or "seed" mantra is,strictly speaking, a mantra of a single letter, togetherwith its termination. The mantra mayor may notconvey on its face its meaning (ibid., pp. 233-234).In the Sanskrit dictionary of Monier Williams:An instrument of thought, speech, sacred text orphrase, mystical verse, magical formula (sometimespersonified), charm, spell.In the work ofB. Bhattacharya:The mantras, or mystic syllables, constitute the back-bone of tantric esoterism and of Vajrayana. They areof innumerable varieties, such as Bija Hrdaya,Upahrdaya, Puja, Arghya, Puspa, Dhipa, Dhupa,Naivedya, Netra, Shikha, Astra, Raksha and so forth.These mantras are mostly a string of unmeaningwords, but they sometimes disclose distinctly theinfluence ofa languagenow unknown. It is, however,impossible to say how these mantras were intro-duced into ancient India. The mantras of Vajrayanaseem to be a development ofdharanis (Introduction toBuddhist Esoterism, Benares, 1964, p. 55).In the works ofH. Zimmer:Man (related etymologically to "mental") means"think or have in mind"; mantra therefore is "aninstrument for evoking or producing something inour minds," specifically" a holy formula or magicspell for evoking or bringing to mind the vision andinner presence ofa god" (Myths and Symbols in IndianArt and Civilization, New York, 1946, p. 140).A compulsion to form a pictorial image compellingbeings to be as they are in their innermost essence. Itis a compelling force, magical instrument, by whichimmediate reality-appearance of gods, thci play ofmystical powers, is wrought. Mantra is power, notarguing or proposition.Whatever is pronounced "inmantra" is an event. Ifanywhere, words are deeds inthis realm (Ewiges Indien, p. 81).In the writings ofK. G. Diehl:

Mantras are instruments. Partly they are withoutmeaning and often they are not understood by himwho reads them. They have fixed places in the ritualand varied effects, and cannot be interchanged. Theyare all indirect means of achieving something....Formulas (mantras), syllables (bijas) hold the godsand can be directed; in that way the performer ofthe

rites draws into himself the divine (Instrument andPurpose: Studies on Rites in Southern India, Lund,1956, pp. 94 and 100).In the works of M. Eliade:The practical value and philosophic importance ofmantras rests upon two orders offacts: first, the yogicfunction of the phonemes used as "supports" forconcentration; second-and this is the peculiarlytantric contribution-the elaboration of a gnosticsystem and an interiorized liturgy through revalori-zation of the archaic traditions concerning" mysticalsound" (Yoga: Immortality and Freedom, New York,1958, p. 212).Vasubandhu, in his Bodhisattvabhumi, wrote that thetrue meaning of the mantras lay in their absence ofmeaning, and that by meditating on their non-meaning one came to understand the ontologicalunreality of the universe (ibid., p. 216).According to A. Govinda:

The symbol word, the holy sound (Tib: gZungs-sNags) which, transmitted to the initiate by the pre-ceptor, makes his personality vibrate in consonanceand opens it up for higher experience (Foundationsof Tibetan Mysticism, London, 1969, p. 90).According to A. Danielou:The term Veda, taken to mean the pure" beginning-less knowledge," should be understood as referringnot necessarily to the Vedic hymns but to theseancient formulae or mantras, which do not pertainto any particular known language and which haveremained the key to the secret knowledge transmittedby Hindu esoteric groups (Hindu Polytheism, NewYork, 1964, p. 200).To the original or true language belong the sacredutterances used in worship and called mantras. Theword "mantra" means "thought form." Throughthe understanding of the inner significance of themantra we can realize' the nature of that which itrepresents. The mantras are in a way identical withdeities. The power of the deity is inherent in itsname, its formula, its mantra, which becomes thesubtle vehicle through which contacts can beestablished between the deity and the worshipper.Through adequate mantras any sort of being can beevoked. Mantras are therefore the key to all ritualsin all religions and are also used in all forms ofmagic (ibid., p. 334).The first perception ofa mantra is always attributedto a direct contact between a human being and adivinity. The mantra ha$ to be first directly receivedfrom a divine incarnation or to be witnessed by a seeras a supranatural vision. Hence "he who first uttersthe mantra is its seer." The mantra represents a

definite deity whom it praises and pleases; "that ofwhich it speaks is the deity." It may further havea particular action or purpose for which it is used(ibid., p. 335).According to A. Bharati:

A mantra is a quasi-morpheme or a series of quasi-morphemes, or a series of mixed genuine and quasi-morphemes arranged in conventional patterns, basedon codified esoteric traditions, and passed on fromone preceptor to one disciple in the course of aprescribed initiation ritual (The Tantric Tradition,London, 1965, p. III).According to A. Mookerjee:A mantra is primarily a mental sound and regardedas fundamental in both the creation and dissolution ofall form. A mantra exerts its power, not so muchthrough expressing the meaning as we understand it,but more deeply through its sound vibrations. Thepower of a mantra consists in the effect of its patternof sound waves (Tantra Art, Basle, 1966, p. 18).

DHARANIS AND THEIR EVOLUTION

Dharanis have remained obscure since their earliestemergence, seemingly from nowhere. It has beensuggested that possibly such concepts were introducedto India from o~tside: either through the influence ofpeople coming from the northwestern lands, or directfrom an ancient cultUre such as Egypt. Whatever maybe the case, the concept of dharani reflects a priestlyorigin. The following extracts, indications and ref-erences may be of use to clarify the situation.

According to M. Eliade in his Yoga: Immortality andFreedom (New York, 1958), p. 213:

The dharani, literally" she who upholds or encloses,"was already used in Vedic times. They were probablyemployed and refined during meditations directed bypranayama; phonetic invention, necessarily limited toa certain number of syllables, was compensated forby the profound inner echo that such "mysticalsounds" awakened. In any case, whatever the histori-cal origin of dharanis may have been, they certainlyhad the value of a secret, initiatory language. Forthese sounds revealed their message only duringmeditation. For the uninitiated, dharanis remainedunintelligible; their meaning .did not belong torational language, to the language that serves toCOmmunicate ordinary experiences. A dharani, amantra, yielded their meanings only when they hadbeen spoken in accordance with the rules andassimilated-that is, discovered, "awakened."

Phonemes discovered during meditation probablyexpressed states of consciousness "cosmic" in

SUPPLEMENTARY TEXTS AND DEFINITIONS XXVll

structure and hence difficult to formulate in secularterminology. Dharanis, like mantras, are learnedfrom" the Master's mouth" (guruvaktratah); they are,then, something quite different from the phonemesthat make up secular language or that can be learnedfrom books-they have to be "received."

According to Kern (Manual ofBuddhism), p. 6:Dharanis existed in Buddhism from the very ancienttimes, and seemed to have been introduced for thebenefit of the less advanced followers, who did notcare so much for nirvana as they did for their materialprosperity in this world. Recruits to Buddhism wereenjoined to read some of the Sutras, which, however,proved to be beyond their intelligence. For theirbenefit these had to be shortened into dharanis, andthe lay disciples were expected to commit them tomemory.

B. Bhattacharya adds:

The 8000 stanzas of the Astasahasrika-prajna-paramitawere reduced to a hundred, and, ultimately, to a veryfew stanzas, which became known as the Prajna-paramita-hrdaya-sutra (the "heart" of the Prajna-paramita), which was further reduced to make roomfor the Prajna-paramita-dharani, which in turn wasconcentrated into a Prajna-paramita-mantra. Finally,the mantra was reduced to its "seed," the bija-syllablepram (Introduction to Buddhist Esoterism, Benares,1964, p. 56).The predominance of mantras is of remarkableimportance in the course of evolution of tantra, asthe mantras not only very soon supplanted thedharanis, but their influence changed the color andtone of the later Mahayana to such an extent that theMantrayana subsequently grew out of it (Sadhana-mala, Baroda, 1968, II, introduction).The seeds of tantric Buddhism were already there inthe original Buddhism in the form of mudras, man-tras, mandalas, dharanis, yoga and samadhi, as ameans to attain happiness and prosperity in the world(Two Vajrayana Works, introduction).Two articles ofL. A. Waddell ("The Dharani Cult

in Buddhism," Ostasiatische Zeitschrift, Berlin, 1912,and "Dharani: Protective Spells," Indian Antiquary,Bombay, 1914) are of interest.

E. T. Atkinson adds some interesting informationand concepts in his writings on the religious develop-ments in northwestern India (The Himalayan Districtsof the N.W. Provinces, Allahabad, 1884), p. 755:

The great object ofthe yoga was to attain to a mentalstate by 'which gradually nirvana or something equiva-lent to it might be acquired. This might be accom-plished by the five stages of dhyana or intense ..

xxviii TIBETAN TANTRIC CHARMS AND AMULETS

contemplation, arriving at a complete freedom fromjoy or sorrow, or by the self-induced trance calledsamadhi (absorption in contemplation) which madeone oblivious ofall external things. Gradually, as aidsto these exercises, were invented the dharanis ormystical signs and formulae, which with the mudrasor mystical gesticulations and the mandalas or magi-cal circles, find their full development in the Shaivaand Buddhist Tantras. In the dharanis every beingand even every idea is expressed by algebraical for-mulae and whoever possesses the proper clue to theirarrangement is able to command the being or the idearepresented by them. Some include the ideas of theparamita (passed over) or perfection-here opposed tosamsara or suffering-and others compel the deities orspirits to appear and the object is attained by repe-tition of the formulae for a local and special purpose.This process is based on the supposed connection be-tween the name and the object it represents. Theremay have been some connection at first between theformulae of the dharanis and the figures assumed bythe fingers in the mudras, but this connection, if itever existed, is now lost. The dharanis were used forall purposes and were powerful to save from dangerthose who were fortunate enough to possess and usethem.Sir John W oodroffe in Sakti and Siikta (Madras,

1965), pp. 208-209, writes:,

In the Indian Compendia, such as the Tantrasara,there were prayers, niantras and dharanis to protectagainst every form of evil, against the bad spirits,wild beasts, natural calamities, human enemies, andso forth, which were said to be effective, providedthat they were applied in the proper disposition andat the right time and in the right manner.It was recommended also to carry on the body thewritten name of one's Protector (istadevata) or oneofthose signs which were called .. transcendent seals,conquerors of all demons."

A fairly recent work by Lessing and A. Wayman(Fundamentals ofthe Buddhist Tantras, The Hague, 1968)includes references to many dharanis which reachedTibet, including a fourfold classification (p. 117): (i)vidya-dharani, appearance of a female deity and theutterance associated with that method; (ii) mantra-dharani, appearance of a male deity and the utteranceassociated with that form; (iii) hrdaya-dharani, "heart"appearance; and (iv) upahrdaya (no commentary).Some interestin.,.g references: p. 105, the Anantamu-khasadhaka-nama-dharani, as pronounced by Buddha;pp. 105-H)7, mention of a dharani in a stupa andconnected rites for longevity; p. 113, the marid dharaniand an account ofthe method ofaccomplishing fertilityin an otherwise barren woman; p. 115, the dharani to

overcome karmic hindrances; p. 135, raksa and bhutadharanis; pp. 175-179, dharanis and their rites; p. 189,instructions on mantras "muttering while dwellingon the sound of the syllables"; and p. WI, rites of ap-peasing and increasing prosperity, and terrible rites.

MANDALA

By far the most comprehensive work to date onBuddhist mandalas and their psychological/philosoph-ical aspects is The Theory and Practice of the Mandalaby G. Tucci (London, 1971), in which there areparticularly deep commentaries on the empowermentand "coronation" rites. Two quotations (p. 23) maybe of use for the reader:

First and foremost a mandala delineates a consecratedsuperficies and protects it from invasion by dis.-integrating forces symbolized in demoniacal cycles.But a mandala is much more than just a consecratedarea that must be kept pure for ritual and liturgicalmeans. It is, above all, a map of the cosmos. It is thewhole universe in its essential plan, in its process ofemanation and of reabsorption.When the magician or mystic is in the center he iden-tifies himselfwith the forces that govern the universeand connects their thaumaturgical power withinhimsel

TYPES OF MAGICAL POWERS

According to Eastern traditions there arc:: five ways bywhich mystic or magical powers can be realized. Thetypes ofpowers according to mode ofacquisition are:(i) janmaja, coexistent with birth, acquired through pastkarmas and the influence of the heavens, stars andplanets; (ii) ausadhija, due to the influence of a drug;(iii) mantraja, acquired through the recitation of magicsyllables and mantras; (iv) tapoja, through extremeausterities; (v) samadhija, through living in a state ofintense meditation and accumulating samadhi.

There are eight powers (Skt: siddhi) in the Buddhisttradition: (i) khadga, the magic all-conquering mantra-sword; (ii) anjana, the magic eye-ointrnent, for seeingvisions and finding buried treasure; (iii) padalepa, themagic leg-ointrnent, which enables a person to goanywhere quickly and without being seen ("seven-league boots"); (iv) antardhana, the power of invisi-bility; (v) rasa-rasayana, for transmuting metals intogold and the ordinary psyche into a godly one, andfor immunity from death ("alchemy"); (vi) khecara,the power to moye through space; (vii) bhucara, thepower to visit all worlds of the material realms; and(viii) patala, the power to go to "nether" regions ofgreat subtlety.

REFERENCES TO TIBETANWOODBLOCK CHARMS

There is a great, scarcity of material, apart from therather dated writings of L. A. Waddell (in The Bud-dhism ofTibet, orLamaism, reprinted London, 196'7, and

SUPPLEMENTARY. TEXTS AND DEFINITIONS ~

N.Y., Dover, 1972, as Tibetan Buddhism; and inGazetteer of Sikhim, reprinted New Delhi, 1970) andE. Schlagintweit (Buddhism in Tibet, London, 1868).The Catalogue of the Tibetan Colledion in the NewarkMuseum, vol. n, contains a number of interestingexamples.

LIST OF ILLUSTRATIONS

SIMPLE PROTECTIVE PHRASES 34 Monogram ofthe All-Powerful TenI Buddhist Protection 35

Monogram Prayer Flag

2 Bonpo Protection HOUSEHOLD CHARMS3 Buddhist Protection4 Buddhist Protection 36 Empowerment Charm5 Buddhist Protection 37 Buddhist Protective Prayers6 Bonpo Spell 38 Household Protection7 Buddhist Spell 39 Household Protection8 Bonpo Spell 40 Household Protection9 Bonpo Spell 41 Household Protection

10 Buddhist SpellPRAYER FLAGS

EDIDLE CHARMS 42 Great Guardian FlagII Buddhist Charm 43 Flag ofPadmasambhava12 Buddhist Charm 44 Bonpo Savioress Flag13 Bonpo Charms 45 Buddhist Savioress Flag14 Bonpo Charm 46 Avalokiteshwara Flag15 Bonpo Charm 47 Bonpo Wind Horse Flag16 Magic Square 48 Buddhist Wind Horse Flag17 Buddhist Medical Charm 49 Buddhist Wind Horse Flag18 Buddhist Charm 5 Buddhist Wind Horse Flag19 Bonpo Charms 51 Four Protective Animals Flag20 Buddhist Charm 52 Great Wind Horse Flag21 Buddhist Terma Charm 53 Banner of Victory Flag22 Buddhist Charm 54 Lotus Banner of Victory Flag23 Bonpo Charms 55 Umbrella Banner of Victory Flag24 Buddhist Charms25 Buddhist Charms VAST LUCK CHARMS26 Bonpo Charms 56 Vast Luck Scepter Charm

57 Great Vast Luck Scepter CharmARCHAIC SYLLABLES 58 Vast Luck Elephant Charm

27 Buddhist Protection Flag AUSPICIOUS EMBLEMS28 Buddhist Seed Syllables29 The Mani Formula 59 Auspicious Emblems and Dharani3 Mystic Monogram 60 The Eight Auspicious Emblems31 Mystic Monogram 61 Auspicious Emblems32 Mystic Monogram 62 Bonpo Auspicious Wheel33 Mystic Monograms 63 Bonpo Auspicious Swastika

xxxii TIBETAN TANTRIC CHARMS AND AMULETS

64 Bonpo Auspicious Elixir Jar STUPAS65 Bonpo Auspicious Conch

Buddhist Stupa Charm66 Bonpo Auspicious Lotus 10367 Bonpo Auspicious Endless Knot 104 Bonpo Stupa Charm68 Bonpo Auspicious Umbrella 105 Buddhist Purificatory Stupa69 Bonpo Auspicious Fish

RGURATNECHARMSANDTHE UNNERSE AMULETS

70 Mandala of the Universe 106 Wealth Charm71 Great Mandala of the Universe 107 Charm Against Animals and Thieves72 Mandala of the Universe 108 Charm Against Wild Animals73 Simple Mandala of the Universe 109 Charm Against Dog Bite110 Charm Against Dog Bite

THUNDERBOLT SCEPTERS III Animal Charm112 Animal Charm74 Crossed-Scepter Wheel 113 Bonpo Circular Animal Charm75 Scepter Charm 114 Running-Boar Animal Charm76 Ribboned Scepter Charm 115 Circular Eagle Charm77 Simple Crossed-Scepter Charm 116 Circular Eagle Charm78 Crossed-Scepter Hum Charm 117 Circular Animal Charm79 Crossed-Scepter Pilgrimage Charm 118 Charm Against Stillbirth

119 Charm Against StillbirthABSTRACT AMULETS 120 Sickness Charm121 Charm Against Stillbirth

80 Sun and Moon Charm 122 Complex Charm Against Stillbirth81 Protective Charm 123 Buddhist Victorious Sword Protection82 Protective Charm 124 Bonpo Victorious Sword Protection83 Protective Charm 125 Protection of16 Weapons84 Birth Charm 126 Life-Hand Protection

ELEMENT PROTECTORS CHARMS AND AMULETSAGAINST DEMONS

85 Male Sky Protector86 Female Earth Protector 127 Charm Against Madness

128 Charm Against a DemonEFRGY RGURES 129 Scorpion Charm Against Demons

13 Scorpion Charm Against Demons87 Two Buddhist Effigies 131 Great Scorpion Charm Against Demons88 Two Bonpo Effigies 132 Great Scorpion Wheel ofPadmasambhava89 Two Buddhist" Greater" Effigies 133 Demon-Binding Charm90 Five Ritual Stakes 134 Demon-Binding Charm91 Male and Female Effigies 135 Demon-Binding Charm92 Two" Greater" Effigies 136 "Fiendess" Demon-Binding Charm93 Cattle and House Effigies 137 Love Charm94 Seven Nyingmapa Ritual Stakes 13 8 Disease-Binding Charm95 Effigy ofthe Deceased 139 Demon-Binding Charm96 Effigy ofthe Deceased 14 Bonpo Demoness-Binding Charm97 Bonpo Effigy ofthe Deceased 141 Disease-Binding Charm ofa Yogi98 Bonpo Effigy of the Deceased 142 Great Disease-Binding Charm99 Buddhist Effigy ofthe Deceased 143 Demon-Binding Cha;m

100 Buddhist Effigy ofthe Deceased 144 Demon-Binding Charm101 Buddhist Nam~Card Effigy 145 Disease-Binding Charm102 Buddhist Name-Card Effigy 146 Disease-Binding Charm

LIST OF ILLUSTRATIONS XXX111

PROTECTIVE AND TUTELARY 19 Bonpo Empowerment WheelCHARMS AND AMULETS 191 Greater Bonpo Empowerment Wheel

147 Hayagriva Protective Charm 192 Bonpo Protective wheel

148 Protective Knife 193 Bonpo Protective wheel149 Protective Scepter 194 Bonpo Demon-Expelling Wheel

15 Small Protective Charm 195Life-Protection Wheel

Syllabic Charm 196 Avalokiteshwara Protection Wheel151 Buddhist Protection WheelGreat Hayagriva Knife Charm 197152198 Hayagriva Protection Wheel153 Wheel ojHayagriva

154 Wheel oj Chandamaharosana 199 Avalokiteshwara Empowerment WheelTantric Tutelary Deity 200 Protection Charm Wheel155 Empowerment Charm Wheel156 Dragon Protector 201Lion Protector 202 Great Empowerment Charm Wheel157 Chojur Lingpa Treasury Wheel158 Chandamaharosana Charm 23

159 Lion Protector oj 64 Squares 24 . Empowerment Wheel oj the Lord ojDeath160 Lion Protector oj 196 Squares 25 Great Empowerment Wheel oj the Lord ojDeath161 Elephant Wheel 206 Scorpion Empowerment Protection Wheel162 Bonpo Garuda Charm 207 Great Voidness Treasury Empowerment Wheel163 Greater Bonpo Garuda Charm 208

Great Voidness Expelling and Empowerment164 Great Buddhist Garuda Wheel Treasury Wheel)65 Buddhist Garuda Rain Wheel 209 Empowerment Wheel oj the Vajrayana

210 Bonpo All-Purpose Protection WheelTIME-WHEEL DIAGRAMS 211 Bonpo Protection Wheel

Geomantic Calendar Charm 212 Bonpo Garuda Protection Wheels166 Bonpo Protection Wheel167 Geomantic Calendar Chart213

168 Auspicious Divination Chart 214 Two Bonpo Dharani Wheels21 5 Two Bonpo Syllable WheelsLAMA WHEELS 216 Buddhist Syllable Wheel

169 Lama Wheel217 Buddhist Syllable Wheel218 Small Buddhist Syllable Wheel

17 Greater Lama Wheel 219 Small Buddhist Syllable WheelPROTECTION AND EMPOWERMENT 220 Two Syllable WheelsWHEELS 221 Ancient Syllable Wheel

222 Great Buddhist Wheel oj the Lamas' Hearts171 Buddhist Protective Wheel 223 Great Buddhist Wheel oj the Lamas' Hearts172 Two Bonpo Protective Wheels 224 The Lamas' Hearts Wheel with Seed Syllable173 Bonpo Protective Wheel Affixed174 Bonpo Protective Wheel175 Bonpo Sickness Protection CHARM MANUAL176 Great Bonpo Protector Wheel 225177 Great Vajrasattva Empowerment Wheel & Great Treasury Charm Manual ojAll Seed178 Chandamaharosana Empowerment Wheel 226 Syllables179 Wheel oj 14 Syllables

TREASURY WHEELS AND180 Jambhala Empowerment Wheel181 Elixir-Jar Empowerment Wheel PROTECTIVE MANDALAS182 Buddhist Purificatory Wheel 227 Great Karma Lingpa Treasury Wheel183 Bonpo Purificatory Wheel 228 Mandala ojAuspicious Emblems and Syllables184 Buddhist Protection Wheel 229 Great Treasury Mandala ojAuspicious Emblems185 Buddhist Lotus Wheel and Syllables186 Great Protectress Wheel 23 Great Dhyani-Buddha Protedive M~ndala187 Great Voidness Empowerment Wheel 231 Great Protective Mandala ojthe Savioress Tara188 Bonpo Wealth Wheel 232 Great Treasury Mandala oj the Bodhisattva189 Bonpo Wealth Wheel ojAuspicious Emblems Samantabhadra

I. BUDDHIST PROTECTION

Inscribed with the invocations of the CompassionateSavior Avalokiteshwara, the Lotus-GuruPadmasambhava, the Enlightened Buddha and thetantric form ofVajrasattva. The mantras: (1) om-mani-padme-hum, (2) om-ah-hum-vajra-guru padma-siddhi-hum,(3) sarva-tathagata-hrdaya, (4) anu-gate-om-ka-rum-trumgi-ni-swaha, (5) om-vajra-sattva-ah, (6) om-vajra-sattva-hum. Woodblock from Yangser monastery, Nyisal,Dolpo, N.W. Nepal. 10.5 x 24.0 em.

2. BONPO PROTECTION

Inscribed with the invocations of the Bonpo saviorShenrab, repeated thrice. The mantra: om-matri-muye-sale-duo Woodblock from Samling monastery, Phijer,Dolpo, N.W. Nepal. 9.0 x 14.5 em.

3. BUDDHIST PROTECTION

Inscribed with five repetitions of the invocatory spell(dharani) of the Enlightened One, Gautama theBuddha. The mantra: om-mune-mune-maha-mune-sakya-mune-ye-swaha. Woodblock from Solo Kumbu,N.E. Nepal. 5.0 x 9.5 cm.

4. BUDDHIST PROTECTION

Inscribed with 12 repetitions of the invocatory spell(dharani) of the Compassionate Savior BodhisattvaAvalokiteshwara. The mantra: om-mane-padme-humwith hri added at the end of the last repetition. W ood-block from Solo Kumbu, N.E. Nepal. 3.4 x 17.0 cm.

5. BUDDHIST PROTECTION

Inscribed with 14 repetitions of the invocatory spell(dharani) of the All-Powerful Savior BodhisattvaVajrapani. The mantra: om-vajra-pani-hum. Wood-block from Solo Kumbu, N.E. Nepal. 3.8 x 16.5 cm.

6. BONPO SPELL

Inscribed with transformatory invocations in the formof a spell (dharani), probably an extract from a text.The mantra: om-par-chig-chig-go-go-na-na-na-na-thub-thub-ye-swaha. Woodblock from Sarnling monastery,Phijer, Dolpo, N.W. Nepal. 2.3 X 21.0 cm.

7. BUDDHIST SPELL

Inscribed with transform~tory invocations in the formofa spell (dharani) used for binding demons, particular-ly of time. The mantra: ga-ga-ga-ga-ga-ga-ga-ga-snyen-snyen-snyen-snyell-chur-chur-chur-chur-dus-dus-dus-dus-sod-sod-shi-nag-kal-raksa-rawa-da. Woodblock from E.Nepal. 1.3 X 20.0 em.

8 & 9. TWO BONPO SPELLS

Inscribed with invocations from Bonpo sutras. Ini-tially there is the formula ah-om-hum, which is equatedwith the three Transformation Bodies (trikaya) ofShenrab, the founder of the Bonpo sect. The meaningof the text is obscure and archaic. Probably used forinserting into prayer wheels and putting into imagesas rites of consecration. Two sides of a woodblockfrom Sarnling monastery, Phijer, Dolpo, N.W. Nepal.1.2 X 22.0 cm./1.2 x 19.0 cm.

IO. BUDDHIST SPELL

Inscribed with invocations from Buddhist Mahayanasutras, in particular three mantras of tantric deities.Along the center five pairs of eyes emerge from thewrathful invocation. Probably used for inserting intoprayer wheels and putting into images during the ritesof consecration and empowerment. Woodblock fromE. Nepal. 1.2 X 18.5 cm.

~...-- -] tifl irliiiQ7-'- C5';-:;ac'~;;"~;;'C~Wt4'if"oM" aM 17*.' 7Isq'kWl_~~ ~

..%~~~~1Jl~)Jj(c\~~~tl~~fU1~~i. ..

~; ",,,,~~~,,,,~~q~~q~t\~~~~~f- - ., . 7

~"U"ib!a~~~~~~'\~~~~~~~~~~~I.'8

.~"It~~~~'~Z\.~'JSV~~~~~~~'~~~d\~~~~~.._. . . . ~ -':teo ..NE. .. . _ ...---= UU4LC.- __ I ....,. 9 .

II to 26. EDIBLE CHARMS

Edible charms (Tib: za-yig) were quite common inboth Tibet and ancient India. The Atharva Veda listsmany formulae for preparing edible charms for theefficacious curing of various diseases. In the Tibetantradition, probably derived wholly from Indiansources, each disease has an edible charm specific for it,generally consisting of mystically revealed or "dis-covered" (Tib: terma) compendiums of potent seedsyllables (bija-mantra) arranged in particular orders,printed or written with specially prepared inks (ofsaffron, blood, lampblack, minerals, etc.) and activatedby the appropriate rites and observances. Ediblecharms usually are in the form of columns of seedsyllables, often quite unpronounceable and untrans-latable as language, yet quite obviously not witho.utsense or structure. In fact it is among charms of thissort that one occasionally finds truly revealing corre-lations with the sound forms of archaic Sanskrit andthe early Indian scripts such as those of the Brahmi andLichchhavi periods. It is this fact, in particular, whichpoints to the Indian origin of such charms. On someoccasions charms were printed directly onto the outsideof the body, over the affected organ. Examples ofsuchcharms are those numbered 17 and 21, which were tobe utilized in sicknesses of the stomach and heart,respectively. References have been made by 1. A.Waddell (in his Buddhism oj Tibet, p. 401) to similarcharms used by reflecting the letters in a mirror that iswashed over with beer or water; the liquid beingdrunk is said to contain the reflected letters.

I I & 12. Buddhist charms. From Hrap monastery,Namdo, Dolpo, N.W. Nepal. 2.4 X 7.5 cm./2.2 X39cm.

13, 14 & 15. Bonpo charms. From Samling mon-

astery, Phijer, Dolpo, N.W. Nepal. 4.5 X 8.5 cm./0.6 X 4.5 cm./4.0 X 7.2 cm.

16. Magic square. Edible charm, sometimes used fordivination. Darjeeling, N.E. India. 3.0 X 3.0 cm.

17 Charm for printing on the stomach of a sickperson. From Khams, E. Tibet. 2.9 X 3.8 cm.

18. Buddhist charm. From Hrap monastery, Namdo,Dolpo, N.W. Nepal. 2.8 X 5.3 cm.

19. Bonpo charms. From Samling monastery,Phijer, Dolpo, N.W. Nepal. 3.8 X 4.4 cm.

20. Buddhist charm. From Hrap monastery,Namdo, Dolpo. N.W. Nepal. 3.8 X 6.0 cm.

21. Buddhist charm for printing over the heart of asick person. A terma. From Khams, E. Tibet. 2.4 X2.6cm.

22. Buddhist charm. From Hrap monastery,Namdo, Dolpo, N.W. Nepal. 1.0 X 4.6 cm.

23. Bonpo charms for" conferring victory and thecuring of any disease." From Samling monastery,Phijer, Dolpo, N.W. Nepal. 2.1 X 15.4 cm.

24. Buddhist charms, archaic seed syllables and alotus design. The seed syllables are used for insertingin the center of protective amulets (of a mandalaform) and also as specifics for the curing ofparticulardiseases. From Solo Kumbu, N.E. Nepal. 3.1 X15.7 cm.

25. Buddhist charms. From Solo Kumbu, N.E.Nepal. 3.1 X 22.0 cm.

26. Bonpo charms and archaic seed syllables,possibly in the now lost Shang-shung Bonpo scriptof the time prior to the introduction of Buddhism inTibet. Many of the other syllables on this block showextremely complex phonetic values, quite unpro-nounceable yet filled with potentiality. From Sam-ling monastery, Phijer, Dolpo, N.W. Nepal. 4.5 X20.0 cm.

14

27. BUDDHIST PROTECTION FLAG

This charm of extremely unusual form is constructedas a flag of protectioQ. It is inscribed all around withpowerful invocations (dharanis) extracted from Ma-hayana texts, enclosing a central rectangular spacefilled with nineteen seed syllables of the archaic Indianform. These syllables are to be found in the text knownas the Lama-Gong-wa Dus, which was derived from anancient Indian "treasure" treatise (terma). It is rare tood such symbols portrayed on a flag or banner, asthey are generally considered too potent for ordinaryeyes. Woodblock from E. Nepal, possibly Sherpa.14.2 x 23.0 ern.

28-. BUDDHIST SEED SYLLABLES

Seed syllables of this archaic form are much treasuredas dharanis by Tibetans. They are considered to be all-powerful as protection against ill fortune and sick-nesses ofall kinds. Generally they are used to empowerprotective amulets and for the consecration of images.Woodblock from E. Nepal. 1.6 x 8.0 em.

29. THE MANI FORMULA

The protective formula (dharani) ofthe CompassionateBodhisattva Avalokiteshwara. It is known as the ManiQit: jewel) mantra, here inscribed in the ancient IndianRanja or Lantsa characters of about the sixth centurY.This mystic phrase has been translated as "Om! TheJewel in the Lotus! Hum!" It expresses the essence ofthe tantric path of Vajrayana. The mantra: om-mani-padme-hum. Woodblock from Khams, E. Tibet.5.6 x 18.1 em.

30. MYSTIC MONOGRAM

Seed syllables (bija-mantra) ofancient Indian origin arehere combined together to form an All-powerfulAuspicious Monogram of exqujsite calligraphy, usedas a household protection, to be printed once a year,Woodblock from Selong monastery, Solo Kumbu,N.E. Nepal. 5.9 x 12.2 em.

31. MYSTIC MONOGRAM

From out of a seven-petaled lotus there emerges acomplex Auspicious Monogram composed of ancientIndian seed syllables. Above are the crescent moon and

.a flaming sun. An aureole sanctuary behind enclosesthe central structure. Woodblock from N.E. Nepal.5.5 x 8.0 em.

32. MYSTIC MONOGRAM

From out ofa seven-petaled lotus there emerges a forI1lcomposed of ancient Indian seed syllables whichproduce a monogram. Above are the crescent moonand sun, symbols of the subtle sound of the mantra.Flames surround and enclose the central structure,which here appears as a yantra. Woodblock fromYangser monastery, Nyisal, Dolpo, N.W. Nepal.9.4 x 13.5 em.

33. MYSTIC MONOGRAMS

From out ofa roughly executed ten-petaled lotus thereemerges a central Auspicious Monogram composed ofancient Indian seed syllables. Above there is a doublecrescent moon and a flaming sun. At either side are tobe seen other monograms of a similar origin. Anaureole encloses the whole, a sun and moon to the leftand right indicate the cosmic scale of'this composition.Sherpa woodblock from N.E. Nepal. 10.0 x 17.5 em.

L-.....------ 3

34. MONOGRAM OF THE ALL-POWERFULTEN

From a five-petaled lotus there emerges a fine Auspi-cious Monogram composed of ten syllables of theancient Indian Lantsa script. The Tibetan name of thisstructure is nam-chu wang-den, meaning the All-powerfUl Ten, which refers to the ten seed syllableswhich comprise the monogram. These syllables con-sist of eight consonants, Y, R, V, L, M, S, K and H,together with two vowels, 0 and U. The eight con-sonants, sometimes reduced to seven by combining Kand S (in which case the whole is called the SevenLetters), are shown in contemporary Tibetan Uchenscript in a column to the right of the main monogram.The consonants combined with the vowel A andending M are the seed sounds of the Great Elements(mahabhuta): yam for the ele~ent Air, ram for theelement Fire, vam for the element Water, lam for theelement Earth, ham for the element Space. Thesesounds are connected to the subtle centers (chakra) ofthe yoga body, and are meditated upon for bringingabout an inner transmutation. To the left ofthemono-gram is a column with the tantric dharani om-ah-hum,symbolising the Body, Speech and Mind of the En-lightened One. Above, at the center, are the crescent

moon (the sound 0) and a flaming sun (the sound M).To the right of these is a medicinal fruit of the myro-balanfarnily (Tib: amra), to the left a Wheel of Law(dharma-chakra), the symbol of the Buddhist teachings.The whole is enclosed by a double aureole sanctuarywithin a rectangular form. At the four comers are thenames ofthe four Protective Animals: snow lion, tiger,mythical bird (garuda) and dragon. Woodblock fromN.E. Nepal. 14.1 x 21.0 em.

NOTE: The symbolism of the All-PowerfUl Ten hasbeen extensively dealt with by P. H. Pott in his ex-cellent book Yoga and Yantra (Leiden, 1966), pp. 57-61.Among the facts that he has unearthed are the con-nections between this monogram and the great teach-ings of the Kalachakra Tantra. Dr. Pott tells uS: "Thesign of the All-PowerfUl Ten consists of seven lettersand three symbols: sun, moon and flame. If we con-centrate on this composition and on the colors of thedifferent letters, we can see that the correspondencewith the bijis of the chakras in the satchakra system issurprisingly close." The Sanskrit name for the mono-gram is dasaksaro vasi. It is said that without a knowl-edge of this composition the understanding of the firstbook of the Kalachakra (Cycle of Time) is quiteimpossible.

34

35. MONOGRAM PRAYER FLAG

Within an oblong enclosure is an Auspicious Mono-gram ofseven syllables ofIndian origin. Outs