Search Results (28)

This study offers a comparative analysis of preparatory practices in Buddhist meditation, focusing on the Tiantai tradition of medieval China and the Nyingma tradition of tenth-century Tibet. Challenging the view of meditation as solely a mental experience, it highlights the critical role of the body in shaping contemplative training. Drawing on recent Buddhist studies and cultural embodiment theory, the paper argues that preparatory practices are essential stages of psychophysical transformation, not just preliminary steps. The study explores early Chinese Tiantai texts, particularly Zhiyi’s meditation manuals, which present twenty-five preparatory practices involving posture, diet, breath control, and ethical restraint. In parallel, the paper examines Nupchen Sangye Yeshe’s bSam gtan mig sgron from the Tibetan Nyingma tradition, highlighting its emphasis on physical integrity, ritual purity, four supportive conditions, and environmental harmony. While Tiantai sources provide a structured methodology, Nyingma practices integrate these elements within broader tantric and visionary frameworks. The paper concludes that these practices are not only supportive of meditation, but also performative enactments of Buddhist cosmology and ethics, positioning the body as central to meditation’s transformative potential. Full article

Durkheimian anthropology has so insisted on the primacy of the sacred that one scarcely pauses to think on what role the profane may play in the study of religion. This paper examines the cultivation of dead bodies in the Tantric ritual of shav-sadhana to draw out the element of the “profanation of holy objects” operative within religion. Based on ethnographic research among Tantric specialists in rural Bengal, this paper examines how impurity liquidates the distance between the sacred and the profane which opens a window on the role of mundanity in religious rites and beliefs. I begin by portraying the ritual act undertaken by Tantric practitioners in which corpses ensuing from sudden, untimely deaths are mobilized for spiritual advancement. The ritual and its mode of efficacy are evocative for using impure matter to turn the flow of human ideals away from transcendence to ordinary, human ones. This paper concludes with a snapshot of Kaliyuga, the last age of Hindu cosmogony and the most corrupt, to thematize how the profane forms a lure as much as a barrier to religion. Full article

Belief in the Thunder God has been important in China since ancient times. During the Tang Dynasty (618–906), the Thunder God was personified and incorporated into official rituals. Due to the increasing presence of Tantric Buddhism in China during the Tang Dynasty, in Daoism (particularly the Divine Empyrean lineage 神霄派), several Thunder Gods formed a military organization, among which Deng Bowen (鄧伯溫) was considered as a marshal who largely preserved the characteristics of the Thunder God from the Tang Dynasty, featuring traits of a half-human and half-bird. This study focuses on interreligious influences and aims to elucidate the logic that informs the evolution of the Chinese Thunder God’s image through Deng Bowen’s case. Through the analyses of iconography and text analysis, this study discusses how Deng’s image was blended with the image of the Hindu deity Garuda (迦樓羅), which was introduced to China during the Tang Dynasty through Tantric Buddhism. This study will also explore how Deng’s image evolved from before the Tang Dynasty to the period after the Song Dynasty and will indicate that the Tang Dynasty was a significant period for the development of Thunder God worship as well as its iconography. Full article

This study aims to investigate the ritual of a peculiar scripture entitled Chinshō yasha-hō 鎮將夜叉法 (Ch. Zhenjiang yecha fa. “Tantric Ritual of Chinshō Yakṣa”). The Japanese deity Chinshō Yakṣa is a Tendai variation of Vaiśravaṇa (Ch. Pishamen/Jp. Bishamon 毘沙門), a heavenly king who vowed to protect Buddhism. The ritual of Chinshō Yakṣa is a major ritual in Tendai Esotericism. It has been traditionally accepted that this scripture was transmitted from China. Modern scholarship, however, suspects that this ritual is Saichō’s 最澄 (767–822) invention. This study examines the contents and characters involved in this ritual manual by comparing other ritual manuals of Vaiśravaṇa. In analysing its liturgical aspect, as well as its textual relationship with other ritual manuals, this paper illustrates how the Chinshō yasha-hō deviates from the other ritual manuals and evaluates the possible sources or origins regarding the formation of this ritual. Similar mudrās and mantras that appear in both the Chinshō yasha-hō and other texts were identified, implying that the Chinshō yasha-hō might have drawn from multiple sources. Moreover, judging from its similarity with Chinese Tiantai ritual manuals and other texts that were forged in the Tang dynasty, it is possible that Tang China and Japan saw a period of active ritual invention. Full article

Wuqian (1922–2010) was one of the most important modern Buddhist masters in the modern history of Sino-Indian Buddhist relations. In his early years, he studied all the major schools of the Buddhist tradition, focusing on Yogācāra philosophy, probably due to Xuanzang’s influence and in alignment with contemporary Buddhist trends. Furthermore, he became one of the few masters from the Central Plains who received systematic training in Tibetan Buddhist tantric rituals. He went to India in the middle of the 20th century. He dedicated his life to the revival of Buddhist thought in India, especially promoting Chinese Buddhism in Calcutta by establishing Buddhist institutions, managing Buddhist sites, organizing Buddhist activities, and building the Xuanzang Temple. In his later years, he devoted himself to facilitating mutual Buddhist exchanges and monastic visits between Buddhist organizations in mainland China, Taiwan, and India. In 1998, he presented two Buddhist relics to the Daci’en Temple in Xi’an. At the beginning of the 21st century, he established the Institute of Buddhist Studies at Xuanzang Temple in Calcutta. He organized the translation of many important Buddhist treatises, again reflecting his intention of following the spirit of Xuanzang to contribute to Chinese Buddhism. His transnational journey manifested that there was an active Asian Buddhist network during the Cold War era, despite various difficulties. Full article

The Four Heavenly Kings, Sida Tianwang 四大天王, are the guardians of the four quarters of the world in Buddhism. They are among the most frequently represented protective deities in Buddhist art across different traditions. In their standard iconographies developed in China popular during the Ming and Qing dynasties (1368–1911), they wear full armor, and each holds exclusive attributes—lute (pipa 琵琶), sword, snake, and parasol—from the east, south, west, to the north respectively. There is no direct textual base in the Chinese cannon for such iconographies. Neither can we find prototypes in India or central Asia. Indeed, how did this iconographic group develop in China? In the past, since the standard iconographies of the Four Heavenly Kings are clear, and identification is no problem, comprehensive in-depth study on this is lacking. Actually, those attributes came from a Tantric tradition related to Tibetan Buddhism filtered through the Xi Xia (1036–1227) and Yuan (1206–1368). What revealed in the development of this iconography is the complex relationship among the Tibetan, Tanguts, Mongols, and Chinese Buddhism. Full article

This paper is a continuation of an earlier study published by the current author dedicated to the virtually unexplored tantric Buddhist scholar of the phyi dar period, *Jñānākara (11th century), through the textual analysis of his masterpiece, the Introduction to the [Path of] Mantra (Skt. *Mantrāvatāra), now available only in the Tibetan translation as Gsang sngags ‘jug pa. In the previous paper, I have discussed the broader historical framework of the eleventh-century Indo-Tibetan world and *Jñānākara’s role in establishing, what I called, the “orthodoxy of tantric practice”. I have also provided a critical edition of the root text, the *Mantrāvatāra, accompanied by an English translation. While the previous study focused mainly on the debatable and highly controversial issue of tantric sexual initiations adopted by the monastics and hermeneutical tools employed by *Jñānākara to refute the literal interpretation of tantric scriptures, the current paper will concentrate on the exposition of tantric practice understood as the accumulation of causes and conditions (hetu-pratyaya) leading to the status of the siddha. This paper will trace tantric and non-tantric elements in *Jñānākara’s construction of the Buddhist siddha that integrated the kāya doctrine of the Yogācāra. My analysis will be based on *Jñānākara’s auto-commentary to his root text, the Commentary to the Introduction to the [Path of] Mantra (Skt. *Mantrāvatāravṛtti, Tib. Gsang sngags ‘jug pa ‘grel pa) which has not received any scholarly attention so far. Special attention will be paid to the intertextual dimension of his discourse that integrates the Mahāyāna models of the bodhisattva path. Full article

This article explores how twelve practitioners of a contemporary Western Śākta community relate to Devī, experience Her presence in their lives, embody Her through the practice of deity yoga, and find their manner of relating to self, others, and the world transformed by it. The narratives were obtained via semi-structured interviews and thus increase the ethnographic data in the field of tantric studies. Altogether, these testimonies suggest that deity yoga and its metaphysical framework, when interpreted through both a theistic and non-theistic lens, may enable a decrease in self-conscious emotions and negative affective reactivity, and an increase in positive affect and self-confidence or trust, as well as empathic or affiliative changes. The latter may result in changes in motivation or goals that are prosocial in nature and enable desirable changes in one’s interpersonal relationships and interactions. Additionally, it may potentially decrease the severity of the impact that neuroticism, mental disorders, substance use disorders, and negative affect can have on an individual’s life, or even assist in eliminating their presence, over time. Finally, it may effectively help some in navigating and overcoming grief or accepting the inevitability of death. Full article

Drawing on both ethnographic and literary sources, this paper indicates that initiations into the mantra of Bālā are essential rites of passage for various Tantric communities. We focus on two previously unstudied texts: Bālāviṃśati stotra (“Twenty Verses on the Bālā Goddess”), a popular eulogy sung on festive occasions in Keralan temples, and Bālādīkṣāpaddhati (“A Treatise on Initiation into the Bālā Mantra”), a short treatise explaining the rules of initiation into the Bālā cult of Kerala. The article contextualizes the texts by providing commentaries of practitioners and interpretations of Keralan gurus who initiate their adepts into Śrīvidyā. Full article

During the era of the Republic of China, a number of Buddhists rediscovered early meditation techniques. These practices were mainly revived from canonical scriptures, following a modern text-based approach to Buddhism. Within this framework, specific attention was devoted to the ‘visualization of the impure’ (bujing guan 不淨觀, Sk. aśubhabhāvanā), particularly in the form of the visualization of one’s own body transforming into a putrefying corpse and skeleton. Masters with various backgrounds (Modernist Buddhists, Yogācāra scholars, Tiantai 天台 and tantric masters) wrote articles and guides on this practice, which had the advantage of being common to both Hīnayāna/Śrāvakayāna and Mahāyāna. This study considers a selection of modern texts on bujing guan in an attempt to uncover why the meditation on impurity was favored and how it was revived. Full article

This paper studies complex narratives connecting the Hindu deity Krishna, his melodious flute, and the porous, sonic human body in the popular devotional sect, Bengal Vaishnavism. From the devotee–lover responding to Krishna’s flute call outside, envying the flute’s privileged position on Krishna’s lips, to becoming the deity’s flute through yogic breath–sound fusions—texts abound with nuanced relations of equivalence and differentiation among the devotee–flute–god. Based primarily on readings of Hindu religious texts, and fieldwork in Bengal among makers/players of the bamboo flute, the paper analyses theological constructions correlating body–flute–divinity. Lying at the confluence of yogic, tantric, and devotional thought, the striking conceptual problem about the flute in Bengal Vaishnavism is: are the body, flute and divinity distinct or the same? I argue that the flute’s descriptions in both classical Sanskrit texts and popular oral lore and performances draw together ostensibly opposed religious paradigms of Yoga (oneness with divinity) and passionate devotion/bhakti (difference): its fine, airy feeling fusing with the body’s inner breathing self, and sweet melody producing a subservient temperament towards the lover–god outside. Flute sounds embody the peculiar dialectic of difference-and-identity among devotee–flute–god, much like the flute–lip-lock itself, bringing to affective life the Bengal Vaishnava philosophical foundation of achintya-bhed-abhed (inconceivability between principles of separation and indistinction). Full article

This paper discusses the healing practices of samayācāra Śrīvidyā, a Hindu Tantric tradition. This study is based on field research conducted in the Śrī Lalitāmbikā temple in Coimbatore, India. The tradition not only advocates inner ritualism, but also focuses on healing practices derived from Tantric sources. By using both emic and etic approaches, this paper attempts to show how the rituals and Śrīvidyā meditative practices became incorporated into this system of healing and well-being. A further aim of this paper is to indicate how various forms of embodiment and healing define the spiritual practice of Lalitāmbikā Śrīvidyā. Full article

This article makes the case that Vīraśaivism emerged in direct textual continuity with the tantric traditions of the Śaiva Age. In academic practice up through the present day, the study of Śaivism, through Sanskrit sources, and bhakti Hinduism, through the vernacular, are generally treated as distinct disciplines and objects of study. As a result, Vīraśaivism has yet to be systematically approached through a philological analysis of its precursors from earlier Śaiva traditions. With this aim in mind, I begin by documenting for the first time that a thirteenth-century Sanskrit work of what I have called the Vīramāheśvara textual corpus, the Somanāthabhāṣya or Vīramāheśvarācārasāroddhārabhāṣya, was most likely authored by Pālkurikĕ Somanātha, best known for his vernacular Telugu Vīraśaiva literature. Second, I outline the indebtedness of the early Sanskrit and Telugu Vīramāheśvara corpus to a popular work of early lay Śaivism, the Śivadharmaśāstra, with particular attention to the concepts of the jaṅgama and the iṣṭaliṅga. That the Vīramāheśvaras borrowed many of their formative concepts and practices directly from the Śivadharmaśāstra and other works of the Śaiva Age, I argue, belies the common assumption that Vīraśaivism originated as a social and religious revolution. Full article

Amongst the wide collection of literature on the Bengali Tantric Vaiṣṇava Sahajiyās, the works of Mukundadāsa (or Mukundadeva) and his disciples are counted among the most influential. Those Middle Bengali texts that are usually recognized as a group of the four main texts of Mukunda and his circle or followers are commented in the work Nigūḍhārthaprakāśāvali (NPV, ‘The Array of lights on the hidden meanings’) by various disciples of this line. The main goal of this paper is to shed light on some aspects of the religious experience in the regional Tantric tradition. As we may suppose, the descriptions included in NPV refer to some previous experiences of the authors (gurus) of the tradition and describe imaginary internal worlds of the body in the manner specific to that tradition, using various esoteric terms and describing also various kinds of religious discipline (sādhana). This means the presentation of the relatively poorly known and still not well-studied Bengali Tantra is expressed in the vernacular Bengali language (Middle Bengali, madhyajuger Bānglā). I will try to demonstrate how the image of the human body (and its imagination in this particular tradition) serves as the basis for the religious experience. Full article

The presence of Apabhraṃśa in tantric Buddhist texts has long been noted by scholars, overwhelmingly explained away as an example of “Twilight language” (saṃdhā-bhāṣā). However, when one looks closer at the vast number of Apabhraṃśa verses in this canon, one finds recurring patterns, themes, and even tropes. This begs for deeper study, as well as establishing a taxonomy of these verses based on their place and use. This paper focuses on a specific subset of Apabhraṃśa verses: “goddess songs” in maṇḍala visualization rituals. These verses are sung by yoginīs at specific moments in esoteric Buddhist ritual syntax; while the sādhaka is absorbed in enstatic emptiness, four yoginīs call out to him with sexually charged appeals, begging him to return to the world and honor their commitments to all sentient beings. When juxtaposed with other Apabhraṃśa verses in tantric Buddhist texts, these songs express an immediacy and intimacy that stands out in both form and content from the surrounding text. This essay argues that Apabhraṃśa is a conscious stylistic choice for signaling intimate and esoteric passages in tantric literature, and so the vast number of Apabhraṃśa verses in this corpus should be reexamined in this light. Full article