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Vairochana Buddha in Tantric Art

Vairochana Buddha can be understood in three ways: as a character in Buddhist scriptures, as a meditational deity used in rituals, and as a familiar image in early Buddhist art. Vairochana is one of the most important Buddhas in Tantric Buddhism along with Akshobhya and Amitabha. In some sutras and tantras, Vairochana is seen as a universal form of Shakyamuni Buddha, making him especially significant in the early development of Tantric Buddhism.

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344 views1 page

Vairochana Buddha in Tantric Art

Vairochana Buddha can be understood in three ways: as a character in Buddhist scriptures, as a meditational deity used in rituals, and as a familiar image in early Buddhist art. Vairochana is one of the most important Buddhas in Tantric Buddhism along with Akshobhya and Amitabha. In some sutras and tantras, Vairochana is seen as a universal form of Shakyamuni Buddha, making him especially significant in the early development of Tantric Buddhism.

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jjustinn
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Vairochana Buddha can best be understood in three different ways: as the [1] principal character

in a number of Buddhist sutras, [2] a meditational deity used in ritual practices, and [3] a familiar
image depicted in early painting and sculpture. Vairochana is also one of the preeminent Buddhas
in !antric Buddhism along with "#shobhya and "mitabha. $n some %utra and !antra e&planations
Vairochana is seen as a uni'ersal form of %ha#yamuni Buddha and therefore especially important
in the early de'elopment and history of !antric Buddhism.
Vairochana Buddha as a central image for paintings is primarily drawn from the (harya and )oga
!antras of the Vairochana Abhisambodhi, Tattvasamgraha, and Sarvadurgati Parishodhana
!antras. $n the Vairochana Abhisambodhi he appears with one face and two hands: *...Bhaga'an
+reat Vairochana, seated abo'e a white lotus and moon, hair piled on the top of the head, with a
crown, upper and lower garments, golden in colour. !he two hands perform the gesture of
meditation, adorned with all the complete mar#s on the body.* ,rgyud sde #un btus, 'olume 3,
page -..
$n the Tattvasamgraha !antra there are two forms described. !he first has four faces and two
hands and the second has four faces and eight hands. *... in the middle of a lion throne , abo'e a
lotus and moon is Bhaga'an Vairochana, with a body white in colour, seated in 'a/ra posture. !he
two hands are in the gesture of supreme enlightenment holding a fi'e pointed 'a/ra of the
tatagatas, with a bac#rest [torana] of the rays of the sun, wearing upper and lower hea'enly
garments, and a /ewelled crown. 0a'ing four faces, the front loo#s to the 1ast.* ,rgyud sde #un
btus, 'olume 2, page -3..
Both the Va/radhatu form of Vairochana and the Va/rashe#hara form ha'e four faces, white in
colour, and the two hands perform the supreme enlightenment gesture at the heart. $t is therefore
4uite easy to confuse these two forms of the deity. !hey need to be differentiated by conte&t and
mandala configuration.

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