The central figure is surrounded with the figures of Dakinis, wrathful yab yum deities and Siddhas.
As Buddhism developed divided into three yanas, (Hinyana, Mahayana and Vajrayana), and so the role and significance of the spiritual teachers also changed. In the first two traditions of Buddhism the teachers may act as a preceptor, responsible for introducing novices to the path of the Buddha, or as a Kalyan Mitra - a spiritual friend who helps, advises, encourages.
In the Vajrayana tradition, the spiritual teacher transforms into the Vajraguru. The disciple's relationship with a tantric teacher is a samaya, - the commitments one takes upon oneself on receiving Vajrayana initiation. Actually their relationship is more like that of a doctor with a patient who desperately wants a cure and has total belief in the doctor’s method. It is said that all blessings spring from the guru.
As mentioned above in Vajrayana the guru is a Vajraguru partly because everything in the Tantra is Vajra (dorje) – everything is seen as an expression of the ineffable Reality of which the Vajra is the chief Tantric symbol. The Vajra prefix implies that the guru embodies Reality. He may formally teach the Dharma or he may not. However, just what he is expresses Reality. His being and mode of living are themselves a teaching. Further, the communication of the Tantric guru may come like a Vajra or thunderbolt for his disciple.
It is very difficult to produce an adequate definition of Dakini. In Sanskrit it is said to refer to a class of fleshing demoness. The Tibetan translation, khandroma, means female sky-goer. Sometimes she is referred to as a sky dancer. The male counterparts, Dakas, do exist, but they play a relatively insignificant part in the tantra. Though it is not easy to receive teachings from Dakini or Yogini, however if one finds the Vajraguru, the Dakinis will not be far away. Though, it is often difficult to find Vajraguru, as Naropa spent very long lime searching Tilopa. These Vajragurus are often seen or resides in a frightening place – on an island in the middle of a poisonous lake, in the depths of a forest, most frequently in a cremation ground. This is the place where earthly bonds are cut and, depending on someone’s karma, where opportunity for enlightenment exists. It is in places like these that one can find Vajraguru, and so it is in these fearsome places that we can meet the Dakinis.
Vajrayana tradition of Buddhism mentions different forms and roles of Dakini or VajraYogini. They are considered as teacher of Tantric Masters and the protectors of Dharma. Dakinis can change human weaknesses into wisdom and understanding, or the concept of self into enlightenment energy. Their worship is very much popular in Buddhist tantric world, especially in Tibet, Nepal, and other regions that are following Tibetan tradition of Buddhism
The central figure, Nairatmya is shown here in red hue. Her green hair is rising upwards behind her five-skull crown. The face of the goddess looks terrible with bare fangs. Her upraised right hand is holding a Vajra-marked chopper, and the left hand near the breast, a cranium. There is Vajra-marked khatvanga staff. Her body is red, the color of intense emotion and sensuality. She is very youthful looking and is untamed. Her face shows the same grimness as her Yogini figure. With her three eyes she can see past, present, and future. Her eyebrows and hair on her face are flamed-shaped. She is naked except her ornaments, which helps to concentrate one’s attention on the expressiveness of her movement. There is an arch-shaped aureole behind her with flames border. They are the fires of her soaring inspiration, her unquenchable energy, and her purifying wisdom. They are fires of love burning for all that lives. On her left shoulder, rests, a magic stick or khatvanga staff. The khatvanga symbolizes ultimate bodhichitta as the union of great bliss and emptiness. The chopper, which has half Vajra for handle and curved iron blade, is actually a butcher’s knife. It is also used to cut up corpses that will receive what is called a ‘skyburial’, in which the cut-up flesh is eaten by vultures and other birds. The ritual meaning in Tantricism lies in the extension of this. It signifies cutting earthly ties and thus crossing into the liberated state. The kapala or skull cup with blood symbolizes a similar breaking of ties with samsara and also the acceptance of this sacrifice by the Yogini who thereby positive indication that will work with yogi.
The border of the painting is decorated with dragons and auspicious symbols. The brocade is woven with flowers and auspicious symbols. This thangka painting is very much suitable for those seeking enlightenment through esoteric way.
This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on “Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)”.
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