Hirayavara MahvihraA Unique Newar Buddhist Monastery

By: Min Bahadur Shakya

Published by: Nagarjuna Publication Pvt. Ltd. 2004 Patan, Nepal

Published by: Nagarjuna Publications Pvt. Ltd Friends colony, Bakhundole Lalitpur, Nepal Tel:5552118 First Edition 2000 copies Buddha Era: 2548 English Era: 2004 Nepal Era: 1124 Cover Photo: Hirayavara Mahvihra Frontispiece: Kvbaju (kyamuni Buddha) Typesetti ng & Layout Design by: Milan Shakya Cover Design: Miroj Shakya ISBN : Price: All rights reserved by the author Printed at: Shakya Printing Press Om bahal Kathmandu/Nepal

A Note from the Publisher There are innumerable cultural and religious sites in Nepal, but authentic books providing systematic and detailed information of them are very few. It is our great pleasure to publish this book on Hirayavara Mahvihra of Patan written by the well-known Buddhist scholar Mr. Min Bahadur Shakya. This is the first book in English to provide authentic detailed information about the famous Newar Buddhist shrine. Nagarjuna Publication is a newly established publishing house, which is dedicated to serve the society through publication of reference books, academic, research and popular books, anthologies etc., without restriction of language and field of subject. We are also interested to publish a series of books on other famous cultural and religious sites of Nepal. We thank all the friends in the country and abroad, including Hwa yue Foundation of Taiwan, for their love and moral support, which Nagarjuna Publication has been receiving since its establishment. Wed like to offer a special thank to Hong Kong Avalokitevara Garden Ltd. for sponsoring the printing cost of this book. Dr. Sarbottam Shrestha Nagarjuna Publications Pvt. Ltd Friends colony, Bakhundole, Lalitpur, Nepal July 1st, 2004

To Whom it may concern It is a matter of great pleasure that a book entitled Hirayavara Mahvihra: A unique Newar Buddhist monastery written by Mr. Min Bahadur Shakya is being published by Nagarjuna Publications Pvt. Ltd. Mr. Shakya is a well known Buddhist scholar who is the member of this monastery itself. This monograph was prepared by him couple of years ago when he was himself the god guardian of the monastery. His writings are well documented and deserves appreciation. I hope this publication will be very useful for all scholars as well as general readers alike.

Yours sincerely

Dharma Ratna Shakya President Hirayavara Mahvihra Vihar Sudhar Committee

Contentsi. A Note From the Publisher ii. Preface 1. CHAPTER I - Introduction: Buddhism in Nepal...................................1-8 Buddhism during the Life time of the Buddha.................................. 1 Buddhism in the time of Aoka............................................................. 2 Buddhism in the Licchav period......................................................... 3 Transitional period.................................................................................. 3 The Malla period...................................................................................... 4 Decline of Celibate Buddhist monastic community in Nepal....... 5 Buddhism in the Shah Period................................................................ 7 2. CHAPTER II - Location and Layout of the Newar Monastery........9-11 3. CHAPTER III - The Chronicle of Hirayavara Mahvihra.......12-14 CHAPTER V - Historical Documents..................................................... 15-17 4. CHAPTER V - Description of the monastery.....................................18-29 Entrance setting......................................................................................18 The Main shrine..................................................................................... 19 Svayambh caitya.................................................................................. 20 Vajrasattva shrine...................................................................................21 Tr shrine.............................................................................................. 22 Majur Nmasagti shrine..............................................................23 Amitbha shrine..................................................................................... 23 Amoghpa Lokevara shrine............................................................. 24 Mahkla shrine..................................................................................... 25 Kalaa/ Guhyevar............................................................................... 26 Prajpramit Scripture..................................................................... 26 Four Metal statues..................................................................................26 Dharmadhtu maala......................................................................... 27 Four Monkeys in the courtyard.......................................................... 27 Yogmvara shrine.................................................................................. 28 Cakrasamvara shrine.............................................................................28

CHAPTER VI - Rituals at the main shrine.............................................. 30-35 CHAPTER VII - Festival at Golden temple............................................36-39 Dpakara/Samyak Festival................................................................ 36 Pacadna Festival................................................................................ 36 Sagha feast festival...............................................................................37 Dpakh Festival................................................................................ 37 Exhibition of the Gods (Bahdyo Boyegu)...................................... 38 Gunl Dharma ceremony.................................................................... 38 BIBLIOGRAPHY.........................................................................................40-42 APPENDIX: SAMYAK FESTIVAL OF PATAN...............................43-54

Hirayavara MahvihraA Unique Newar Buddhist Monastery

CHAPTER IINTRODUCTION: BUDDHISM IN NEPAL RELIGION in the Kathmandu Valley has historically comprised five main traditions. The first is animism, worship of the spirits. The second, most widespread element is worship of the Mother Goddesses and other forms of Dev. The third is worship of the god iva. The fourth is worship of Viu. The fifth tradition is Vajrayna Buddhism the form of Buddhism that has been practiced at Hirayavara Mahvihra since its inception. Buddhism during the lifetime of the Buddha Lord Buddha is believed to have taught the dharma in his home city of Kapilavastu, Nepal. Both the Svayambh Pura and various chronicles (vavals) claim that the Buddhas teachings reached the Kathmandu Valley in his own lifetime, and even that the Buddha himself came here. Even though we have no clear evidence for this, the Buddhas legacy is evident everywhere in the Valley. One early source that refers to Buddhism in Nepal is the Mlasarvstivda-vinayavastu, a Sanskrit work on monastic discipline translated into Chinese by Yixing in 700 CE. It mentions an episode relating to the transport of wool by a group of bhikus who set off for Nepal when the Buddha was residing in rvast. The same text relates that nanda, the Buddhas cousin, also went to the Kathmandu valley. Concerning the introduction of Buddhism to Nepal, John Locke writes:Given the proximity of the valley of Nepal to Lumbini, Kapilavastu and areas of North Bihr, where Buddhism spread rapidly even during the time of the Buddha, it is quite possible that the dharma found its way to the Valley during the lifetime of the Buddha himself. 11

See John K. Locke, The unique features of Newar Buddhism, 1989, p. 97.

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Chapter i

Introduction: Buddhism in Nepal

Chapter i

Introduction: Buddhism in Nepal

Buddhism in the Aokan Period Emperor Aoka is believed to have visited Lumbini and Kapilavastu, where he erected a pillar stating that Buddha was born there. He also visited all the other places believed to have been associated with the principal events in the Buddhas life. According to Nepalese chronicles, Emperor Aoka visited Kathmandu with his royal preceptor Upagupta. He erected many chaityas here and offered his daughter, Crumat, to a local prince called Devapla. Later, Crumat erected a monastery in her own name and spent most of her life as a nun (bhiku). The monastery erected by princess Crumat still exists today, and is now called Cbahl Vihara. However, it is difficult to confirm that Crumat ever visited Kathmandu, because none of the Aokan inscriptions mention that he had a daughter by that name. In Patan, there are four great stpas in the four cardinal directions. Nepalese tradition asserts that they were erected by the Emperor Aoka himself, and their structure resembles ancient stpas known to have been erected by Aoka. Prof. David Snellgrove writes:Such was Aokas fame as the greatest of all benefactors of Buddhism that his name was readily associated with missionary activities that far exceeded their considerable historical range. If Khotan in the remotest part of Central Asia can preserve traditions concerning its founding as a city state by an imaginary son of Aoka, named Kustana, it is by no means surprising to learn that Aoka personally visited the Nepal Valley, where he founded the royal city of Patan together with its great stpas, each at one of the four cardinal points.2 This city is certainly the early Buddhist city of Nepal, but there is nothing surviving above ground to suggest a date earlier than the fourth century CE.

Buddhist sites are abandoned ruins, the ancient sites in Nepal are still active shrines.3

So although it remains a possibility that Aoka personally came to the Valley, as tradition affirms, we lack the evidence to be certain. Buddhism in the Licchav period (400-800 CE) The first documentary evidence of the presence of Buddhism in the valley comes from the inscription of Cgunryaa and Jayadeva II, dating between 464 and the 9th century CE. King Vadeva (38742) was a Buddhist monarch who renovated the caitya of Dharmadatta, and also renovated several vihras so that they could provide lodgings for monks. He is also said to have founded a vihra in the vicinity of r Svayambh Mahcaitya. The Tygal inscription of King Auvarm (605621) mentions deities such as Amitbha, Akobhya, kyamuni, Samantakuuma and Majur, indicating that Mahyna in its developed form was already present at that date. Other inscriptions also testify to the growth of Mahyna Buddhism. In that same century, King Srong btsan Gampo of Tibet married the Nepalese Princess Bhku Dev. Indeed, she is the one who is credited with having played a major role in the introduction of Buddhism to Tibet. Even though her marriage was not recorded outside Tibet, it is clear that Bhku Dev not only propagated the Buddha dharma in her adopted home, but also instigated the construction of temples in both Tibet and Bhutan, including the great Jokhang Temple in Lhasa. The Transitional period: 880-1200 CE Buddhism appears to have reached its zenith during the transitional period. Patan essentially became a center of Buddhist learning, not unlike the celebrated universities of Bihr and Bengl such as Odantapur, Nland, and Vikramala. Nepalese Buddhists went to these Indian centers to study, and Indians journeyed north to sojourn in Nepal. On Patan, Snellgrove wrote,Patan must have been a kind of vast university-city, differing little in its way of life from similar towns in medieval Europe. In fact its3

John Locke adds:It is not impossible that the emperor Aoka visited the Valley, but there is no contemporary evidence of such a visit, either from Nepal or from Buddhist sources in India. Unlike India, where the ancient2

See D. L. Snellgrove, Indo-Tibetan Buddhism part II, 1987, p. 365

J. Locke, Unique features, p. 87..

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Chapter i

Introduction: Buddhism in Nepal

Chapter i

Introduction: Buddhism in Nepal

buildings, its traditions and its way of life must have been modeled on the great monastic universities of Central India.

Again he writes,This city was once a place of sanctity and learning, which monks and paitas were glad to come and visit. Some came from India to teach, others from Tibet to learn.

This depiction is borne out by an inscription of 1230 CE which is inscribed upon a statue of Dipakara Buddha belonging to Guita Vihra. It states: vikhyta lalitapuriti nagaridiku sarvasvapi vidybhym Patan is famous in all directions for its practice of academic life. Nrop (10161100?), the renowned yogin, had seven chief disciples who, like him, taught the Mahyna stras and Vajrayna tantras. Two of his disciples were Lord Maitrip, of Kapilavastu, and sPhyi-ther-pa, who was also from Nepal. The great translator Mrp also stayed in Patan and Kathmandu for three years to study the highest yoga tantras under famous Nepalese gurus such as Paindap and sPhyi-ther-p. Furthermore, the great translator Rw Lotsv studied the Vajrabhairava system under the Vajrcrya Maimed Hand Bhro in the eleventh century. To quote Mary Slusser:From the hands of Nepalese monks, there was a vast outpouring of manuscripts. Most of the extant works of the transitional period, dating from the eleventh century on, are written in Sanskrit, employ diverse scripts, and are sometimes illuminated.4

rise of Vajrayna practice, especially the highest yoga tantra, a karmamudr was considered essential for speedy enlightenment. The formerly celibate monks married and eventually took their place at the head of Nepals caste hierarchy being classified as monks (kya) and tantric priests (Vajrcrya) which over the centuries was imposed upon the Buddhist community by a aivite monarchy. Hundreds of monastery complexes containing living spaces for these now-married monks and their shrines, libraries and educational facilities were built during this period. It was in this period that Newar Buddhism was in full flower. Those complexes dating from the Malla period survive today as residential quarters; not for celibate monks, but for married householder monks. Among them, the kyas are temple priests, while the Vajrcryas are family priests. The decline of celibate monasticism: Newar Buddhism as the practice of a lay Bodhisattva Now, the question must be asked: why did Newar Buddhists opt to become householder monks (ghastha bhiku) rather than celibate monks? Both historians and local Buddhists maintain that celibate monasticism failed to survive the reign of King Jayasthitimalla in the fifteenth century. I am not convinced, however, that it was solely Jayasthitimalla an aggressively orthodox Hindu, said to have imposed a caste system upon the Buddhist community who singlehandedly removed celibate monasticism. Rather, the decline of celibate monkhood started long before he ascended the throne of Nepal. Although Jayasthitimalla may have sounded its death knell, the institution of celibate monasticism seems to have already been weak at the time of Atis arrival in Kathmandu in 1041 CE. Indeed, there had long been provision for lay monkhood in Indian Buddhism, and by the time of Jayasthitimallas coronation, it was already very popular in the Kathmandu Valley. The antiquity and strength of this tradition is evidenced by the eighth-century Indian work Sik Samuccaya, compiled by crya ntideva. It contains the following verse:Punarapara kulaputra bhaviyanti angata adhvni ghastha pravajita dikrmika bodhisattva | Again, O sons of a good family! In the future there will be a householder monk, a beginner-practitioner bodhisattva.

The Malla Period: 12001768 By the end of the twelfth century, a profound change had been brought about in Nepalese Buddhist practice. Celibate monasticism diminished following the introduction of tantric ritual practice, in which the female principle, praj, was of prime importance. The upholding of celibacy was superseded by rituals associated with the invocation of praj. With the4

Slusser, Nepal Mandala, p. 281.

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Chapter i

Introduction: Buddhism in Nepal

Chapter i

Introduction: Buddhism in Nepal

With regard to the beginner-practitioner (dikrmika) Bodhisattva mentioned here, crya Anupamavajra was a prominent advocate of beginners practice. His works had a great impact on the Newar Buddhist tradition. Indeed, his dikarma Pradpa, which Anupamavajra composed in 1098 CE, partly describes the traditional daily practice of many Newar Buddhists.5 According to the Newar Buddhist tradition, when one disrobes after taking tonsure (ckarma), the kyas and Vajrcryas do not cease to be Buddhist monks, but pass from the state of celibate bhiku to the state of householder bodhisattva bhiku. In the disrobing ceremony, the following lines describe the new status of the bhiku:You have gone through the rvakayna and now come to Mahyna, the greatest of the Buddhist ynas. You have participated in some Vajrayna rituals, and after going through some higher ordinations you will know what Cakrasamvara is.6

There are many accounts of Nepalese sojourning in Tibetan monasteries, especially at Tashi Lhunpo in Shigatse. In 1667 CE, a certain monk, Padmadhvaja by name, returned from Tashi Lhunpo and established a monastery in Bhaktapur. He donated an image of Dpakara Buddha and an endowed the monastery with lands held in a trust, with the approval of his wife, daughter, and son. Tibetan Buddhism gradually came to be favored by those Nepalese merchants and artisans who resided in Tibet. Furthermore, these people could be freely and permanently ordained as monks in Tibet, which was no longer possible in Nepal. In the meantime, with the disappearance of Buddhism in India, Nepal had become a holy land for Tibetans, and in certain seasons of the year Tibetan pilgrims would make their way to the great shrines of Baudhanth, Svayambh and Namobuddha. Buddhism in the Shah Period (1768present) The stature and financial health of Buddhist monasteries greatly declined after the invasion of the Hindu Gorkhls in 1768 CE. Most of the property held by guhs, the trust organizations that supported the monasteries, was usurped by the new government. Since then, the Newars have been under the political control of the Gorkhs, and between 1846 and 1950 they were subjected to the autocratic rule of the R family. It is now fashionable especially among Theravda Buddhists, who since the end of R rule have established a vibrant presence in the Valley to say that Newar Buddhism is a corrupt form of Buddhism. This charge echoes an important reality, namely, that Vajrayna Buddhism has assimilated elements of the Hindu pantheon, as well as a limited number of Hindu practices, such as fire sacrifices and so forth. Indeed, after Jayasthiti Malla forced the Vajrcrya priests and kya monks into the straitjacket of a caste system, it is true that Buddhism in Nepal became a closed, exclusive community. Membership was transmitted through patrilineal descent. Monasteries became the homes of married monks, and their practice became oriented towards the mechanical performance of ritual; the path of mental purification through meditation diminished, and Buddhas and Bodhisattvas tended to be worshipped as gods. Nevertheless, the medieval Indian basis of Newar Buddhism remained largely unchanged, and it continued to provide an effective source of spiritual development and comfort for the populace. 7

That Buddhism survived in the Kathmandu Valley right up to the end of the Malla period is largely due to the benign influence of Tibetan Buddhism. When King Pratpa Malla (16641674) opened up trade relations between the two countries, Newar traders began to regularly travel to and from Lhasa. They not only amassed wealth in Tibet but also brought back renewed Buddhist values to Nepal, along with the paraphernalia of their faith such as statues and paintings (paubh), thereby revitalizing the Buddhist tradition of Kathmandu.5

In brief, the work deals with the following common practices of Newar Buddhists: 1. To takie refuge in the Triple Gem; 2. To recite the Nmasagti; 3. To recite the Bhadracary Praidhna; 4. To make offerings to departed spirits (Preta bali); 5. To circumambulate caityas, Buddha statues, etc; 6. To perform the Gurumaala rite; 7. To meditate on ones tutelary deity; 8. To recite the Prajpramit and other Mahyna stras; 9. To recite the Verse on Generosity (Dnagth); 10.To perform Bodhisattva practices with joy; 11.To study the Buddhist scriptures; 12.To offer food to the triple Gem and ones tutelary deity before eating; 13.To offer fivefold prostration to the Buddhas of the ten directions; 14.To sleep in lions posture after performing Deity yoga. 6 David Gellner, Monk, Householder and Tantric Priest, 1992.

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Chapter i

Introduction: Buddhism in Nepal

Although there is little to distinguish Buddhism from Hinduism in the minds of most Newars today, if we take the viewpoint of Brahmanical orthodoxy, all Buddhists are heretics. However, in reality, there is immense tolerance for diversity in Nepal. Within a single Newar family, members may worship both Buddhist and Hindu gods. During festivals, the religious communities of each city are united in their worship of major deities, who may have developed dual Buddhist and Hindu identities. Throughout this period, Tibetans maintained their patronage and worship of the Valleys main Buddhist monuments. Tibetan pilgrims continued to frequent the Kathmandu Valley from the early Malla period down to this day. In the Tibetan diaspora of the late twentieth century, Nepal became a haven for many Tibetan refugees, and assumed renewed importance as a sacred Buddhist land.

CHAPTER IITHE LAYOUT OF THE NEWAR MONASTERY TODAY, the city of Patan alone contains more than one hundred and sixty monasteries, and Kathmandu more than one hundred. Monasteries began as living quarters for celibate monks, but with the advent of tantric Buddhism, they evolved into communes of married yogs and yogins. Almost all of the bahs and bahs enshrine kyamuni Buddha or Avalokitevara as the main deity. They further contain a secret tantric deity (gam dya) never revealed to non-members or non-initiates which is the principal focus of esoteric worship. In the Kathmandu Valley there are two distinct types of vihra: bahs and bahs. At present there are eighteen main bahs in Patan, with numerous sub-branches, and twenty bahs.7 Their architectural features include the following: 1. 2. 3. 4. 5. 6. All bahs and bahs have square floorplans and square courtyards. The ground floor is open to visitors. A walkway (pha) surrounds the courtyard on four sides. There is a separate shrine room for the main deity. The entrance door faces the main shrine. The doorway to the adjoining garden is on the right or left side of the courtyard. 7. Buildings are of only two storeys in height. 8. In the bah, the main shrine can be circumambulated by a passageway. 9. Generally, in the bah, a flight of steps leads from street level up to the main shrine, whereas the entrance to the bah is usually at street level. 10. The shrine of the tantric deity (gam) is located directly above the main deity (kvpadya).7

AAAAA

According to Hemraj Shakya, there are thirty-two bahs in total.

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Chapter II

The Layout of the Newar Monastery

Chapter II

The Layout of the Newar Monastery

The basic design of the Newar monastery is undoubtedly ancient. For example, the excavated monasteries of Srnth, Lumbini, and Jetavana at rvast all have square floorplans. The enclosed quadrangle is paved with brick tiles or stone slabs (Newari: cikan app). This style of paving keeps the interior courtyard free of moss and lichen. The brick-tiled or stone-paved courtyard is mostly used by the monasterys members for listening to Buddhist teachings or the recitation of hymns (stotra), dhras, or the Nmasagti. A Dharmadhtu caitya, miniature votive caitya or a separate shrine in the middle of the courtyard is common in most bahs and bahs. Examples are the Bugadeva shrine in Tabah; the Cakvdya shrine in Jehavara Mahvihra; the Svayambh caitya in Hirayavara Mahvihra; the Janabah shrine in Kanakacaitya Mahvihra, and so forth. In most of the bahs and bahs, there is a separate shrine for the main deity, or Kvbahju. This represents the mlagandhaku of the Buddhas time. One universal feature of the Newar bah or bah is that no one is allowed to enter this Gandhaku except the god-guardian (dyapl) or boys who have been ordained during the ckarma ceremony. Sometimes, a miniature of Vajradhara is placed in front of the image of Buddha kyamuni. Most bahs and bahs are only two storeys high. The first floor of the main shrine is fronted by a triple window (tikijhy) which inclines forward. This triple window represents the three jewels of Buddhism, while the five-framed window symbolizes the five Buddhas. The walkway surrounding the courtyard is used for cakramaa in the case of bahs. One can circumambulate the main deity of a bah shrine on this walkway. In addition to features listed above, the following are normative in bah or bah shrines: 1. Two lions of metal or stone flank the main entrance door (as in Hirayavara- and Rudravara-Mahvihra); 2. the door of the main shrine bears an archway (toraa) symbolizing the three jewels, or the five Buddhas, or the deity inside the shrine; 3. images of protector deities such as Gaea and Mahkla appear at the main entrance; 4. beyond the main entrance are two open platforms (phalec), which are central to the religious life of the community; here devotees 10

5. 6. 7. 8.

recite hymns, play religious music and sing Jnaml or dph bhajana songs. During the month of Gunl, Buddhist deities are exhibited here; at the apex of the main shrine is a caitya; to the rear of the main shrine is a garden or courtyard (nani); a well is located behind the complex; the main deity of the bah/bah is either a Buddha or a Bodhisattva.

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Chapter III

The Chronicle of the Hirayavara Mahvihra

CHAPTER IIITHE CHRONICLE OF HIRAYAVARA MAHVIHRA ONCE, a married Nepalese lady gave a birth to a baby boy.8 At that time, Lord Buddha had just passed into great Parinirva, and as yet no Buddha statue had been erected anywhere. The lady lost her husband only one year after she gave birth to her son, and so it was she who, by and by, taught the boy the sculptors craft. When the boy was ten years old, his mother told him to make a Buddha statue. The boy asked his mother how it should be made. That night, in a dream, the lady saw Lord Buddhas body endowed with the thirty major and the eighty minor marks. The next day, she told her son all the details she had seen in her dream, and the boy began to prepare a mold for the Buddha statue. He crafted a mold which was about six feet and nine inches high. After his mother had carefully inspected the statue, she pronounced it to be just about perfect. However, it still lacked four qualities.9 His mother nonetheless thanked him for creating a most beautiful Buddha statue. Meanwhile, Lord Indra, king of the gods, came to know of the statue. Having stolen it, he placed it in his heavenly garden; where, they say, it remains to this day. The unfortunate mother and son could do nothing but gaze at the empty spot where the Buddha statue had once been. After a while, the lady asked her son to make another statue, and so he did. She again inspected the new statue and saw that it was as well made as its predecessor. Many people learned of this statue, came to pay homage to it and offered the Buddha statue whatever they had with great devotion. News of it spread like wildfire, reaching as far as Lhasa. Some Tibetans then came all the way from Lhasa and, smitten by the statues uniqueness and beauty, stole it. So again the poor lady and her sculptor son suffered the loss of their cherished statue.The following is based on the traditional account in Kvabahy Vamval, 1993. The missing marks were: Lord Buddha used to walk ; he preaches the Dharma ; monks follow him on either side; and he is surrounded by an aura of light (130).8 9

Together they decided to make another statue, but this time they would keep its presence secret. It was made perfectly, as before, with the eight kinds of precious metal. The mother was very happy and satisfied with her sons superb workmanship. After a time, she passed away and was reborn in the Sukhvat heaven. Her son married and begat a son. His descendants were all devotees of the Buddha, while he himself became renowned as an emanation of the Universal Architect, Great Vivakarm. In the following degenerate age, people developed deep ignorance and delusion rather than faith. A great earthquake struck, and many people perished. The house in which the Buddha statue was kept was turned into rubble. People forgot that any such statue ever existed. Many years later, when the crops were being harvested, people suddenly heard a bell ring; but when they went to the place from which the sound seemed to be coming, they found nothing. So they marked the spot and the next day returned to dig there. It was then that they discovered the Buddha statue. They cleared away the earth, cleaned up the statue and many people came to pray and worship before it. At that time, the hakr King Bhkara Deva (104548 CE) ruled Lalitpur city. Someone informed him about the discovery of the Buddha statue. That night, the king saw the Buddha statue in a dream. The statue told him to dispatch his royal priest, Vajrcrya Kulapda, to bring it to the palace. The next day, the king summoned Vajrcrya Kulapda, who then arrived at the palace. The king asked the Vajrcrya to determine an auspicious time to fetch the Buddha statue. Vajrcrya Kulapda, along with his disciple Cailaka Bhiku, set off for the place where the Buddha statue had been found. When they arrived, Vajrcrya Kulapda made offerings to it, worshipped the Buddha statue throughout the night, and consecrated it with Vajraynic ritual. Using his mantra of drawing down (Skt. karaa), he imbued the Buddha statue with the consciousness-principle and brought it to akhamla, Lalitpur. He then informed the king who, accompanied by many courtiers and musicians, came out to receive the Buddha statue. After crossing the holy waters of akhamla, the procession headed towards Lalitpur city. Seeing this, the goddess Mahlakm of Lagankhel transformed herself into an eagle and snatched away the vajra held by Vajrcrya Kulapda, flying up into the sky. At that point, the Buddha statue became rooted to the spot, which is known to today as Svantha. 13

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Chapter III

The Chronicle of the Hirayavara Mahvihra

However, Guru Kulapda immediately brought back Mahlakm with his tantric power and threatened to kill her. Mahlakm, now appearing in her divine form, told him that she was very impressed with his tantric power and explained that she had intervened merely to express her displeasure at his not informing her about such a meritorious occasion. The Buddha statue, which could now be moved further, was then taken to the center of Nykhchowk square and installed there. The next morning, Vajrcrya Kulapda, having bathed and purified himself, worshipped the Buddha with prostrations, offerings, prayers and with 108 recitations of the Aparimit dhra. Henceforth, this became his daily routine. Two months later, King Bhkara Deva began to build a new vihra to house the Buddha statue, and once it was completed, he summoned the Vajrcrya to perform the consecration. Kulapda told the king that it would be difficult for the king to attend to the Buddha statue, as his duties would involve continuous devotional exercises, purification ritual, and recitations; but the king did not heed the gurus warning. He had the Buddha statue installed in the new vihra and he himself attended it. But shortly after the consecration, the Lord Buddha appeared to the king in a dream and told him to build another vihra. This vihra should be located in a place where there was: 1) a mouse called Hirayaka, who bathed daily in nearby Kumbha trtha 2) a pond which had not dried up since Majur cleaved the gorge at Cobhr, draining the Valleys primordial lake 3) a jewelled caitya in the center of the pond 4) two ngas called Varua and Varuvat, and 5) a mouse who chases away a cat The king consulted many learned Vajrcryas, who invoked the Ngas and Ngins dwelling in the pond and drained it. A vihra, with a jeweled caitya in the courtyard, was built on the spot, representing the thirteen Bodhisattva levels, which was the traditional style. The vihra was named Hirayavara Mahvihra after the Hirayaka mouse. At its inauguration, the sagha had six hundred members. To this day, the daily ritual practice includes purification by bathing, recitation of the Aparimit dhran and stotras, the offering of Arati lamps, striking the wooden gong at specified times and so forth. 14

CHAPTER IVHISTORICAL DOCUMENTS The Buddhist shrine of Kvbah, popularly known as the Golden Temple, is one of Nepals most beautiful monasteries. It is situated north of Patans Durbar Square on the road leading to Kumbhevara. Although it is more commonly known in Patan as Kvbah, its Sanskrit name is Hirayavara Mahvihra. Kvbah is one of the eighteen main bahs of Patan. It ranks foremost in terms of its religious status.10 Kvbah has a large number of branches, fourteen of which are official, while thirteen are private branches belonging to Buddhist castes other than Vajrcryas and kyas.11 The formal name of the monastery is Bhkaradeva saskrita Hirayavara Mahvihra, which suggests that it was founded or reconstructed in the reign of Bhkaradeva (104548).12 The presence of the four metallic sculptures reminiscent of those of the Licchav period confirms the antiquity of the site.13 The earliest firm information we have about Hirayavara Mahvihra are two references in manuscript. The first is in the colophon of a palmleaf copy of the Vajrval written in NS 202 (=1082 CE) by one Candra of the Turaharavara Mahvihra in Maigalake.14 The second reference is in the colophon of a Pratihloka manuscript written during the reign of Guakmadeva. There were two kings by the name of Guakmadeva during the hakr period: one ruled from about NS 107 to 110, and the other from about NS 303 to 316. There was only one Bhkaradeva in thisDuring Bahpj, when Newar Buddhists visit the eighteen main bahs of Patan, the worship begins at Kvbah. 11 Locke, Buddhist Monasteries of Nepal, p. 31. 12 Dina Bangdel, drawing on inscriptional evidence, suggests a pre-transitional period date as early as the Licchav period (4th9th century) for its foundation. She is confident that if the Licchav-period dating given by scholars for the principal caitya is valid, it would support the traditional history of a Licchavi period consecration of the Bah. See Manifesting the Maala, p. 220. 13 ibid. 14 Locke, Buddhist Monasteries of Nepal, p. 39.10

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Chapter IV

Historical Documents

Chapter IV

Historical Documents

period: he ruled from at least NS 165 to 167. Hence, if he was indeed the founder of the vihra, the second reference must date from the reign of the second Guakmadeva, circa NS 30316.15 Today there are thirty-eight copper plate inscriptions and seventeen stone inscriptions located in the bah: 1. A copper plate inscription dated NS 529 (1409 CE) affixed to a beam at the northern end of the court of the main temple seems to be the most ancient and important inscription inside the bah premises. 16 2. Two copper plate inscriptions, dated NS 653 and 762, donated by r Ujotadeva of Dolakh. 3. Of the inscriptions on alms bowls (piaptra), 102 in number, the oldest is dated 645 NS (1525 CE). 17 4. The large bell in Hirayavara Mahvihra (Kvbah) has the following inscription: r maigardhipati r r jaya iva sihadeva prabhu thakulsa, putra r r hariharasiha. The date is the month of vin in NS 728 (1608 CE). 18 5. A copper plate inscription describes the formation of a large trust of bah members to oversee repairs and to donate a new gilt roof to15 16

6.

7.

8.

9.

Locke, Buddhist Monasteries of Nepal, p. 39. This inscription reads: ubha rayastu savat 529 mgha ka navamymra tithau hasta nakatra harana ukravarasare r uttara vihradhipati r yogambara gesthita r hirayavara mahvihra gaa madhyamasthita r r caitya bhaarakasylaya tatraiva vajrcrya r davyajanaya psya r megharma thavara psana bhry dharmapatn jayalakm bhari sahitana kanalaa dhvaja varohana yangdina juro || ubham || In the year 529, in the dark fortnight of the month of Mgha, r Davyajana Vajrcrya, head of the bah, along with ju Megharma and his wife Jayalakm, donated a pinnacle for r Yogmvara at the north side of the vihra, and a golden pinnacle surmounted by a vase-banner for the caitya at the center of Hirayavara Mahvihra. 17 The inscription reads: reyo au | savat 645 rvaa ukla aamyay tithau/vaikha nakatre ukla prabrama yoge jatha karna muhrte bhapativsare idamadivase r nykhcoka vihravasthita r harasihasya bhry herasmi putra putr saheta r mat r 3 dpakara tathgatebhya sarva sagha piaptra udghoita nena dnena sukha sampadam bhavatu || ubha || In NS 645 (1525CE), on the eight day of the bright fortnight of rvaa, Thursday, r Harasihas wife Herasmi, together with her sons and daughter, from Nhykhcok vihra, offered this alms bowl to Dpakara Tathgata and the extended Sagha, wishing for happiness and prosperity from the merits of this generosity. 18 Mentioned in Itihsa Saodana ko, p. 287; Regmi, p. 48.

the central shrine. Siddhinarsiha is reigning at the time the month of Mgha, NS 757. A stone inscription of the same date describes a large trust of Bhawas ( Jypus) which was organized to donate new finials (gajuras) to the vihra. The reigning king is named as Narasiha. A second date is also inscribed: the month of Phlgua, NS 762. A new archway (toraa) was donated to Hirayavara Mahvihra in the month of Jeha, NS 800, by a Vajrcrya. r Niva and Yoganarendra were joint rulers at that time.19 A group of Vajrcryas donated new windows and an archway to Hirayavara Mahvihra in the month of Mrga, NS 822, during the reign of Yoganarendra. The wooden frame inside the small central temple in Hirayavara Mahvihra was replaced and four Buddha images were donated by a group of bahl members in Caitra 831 (1711 CE). Vra Mahindra ruled at that date. 20 He is also mentioned as being king in a stele dated Vaikha, NS 831 (1711 CE).21 A bhiku of Nakabahl sent an invitation to king Mahendrasiha (NS 837-843) to attend the special feast of Samyak at Hirayavara Mahvihra in the month of Mgha, NS 839.

mahrjdhirjasya r 3 jayanivamalla prabhu, putra r 3 joganarendra malla prabhu hkura ubhaya vijaye rjyes | See Regmi, p. 307. 20 Regmi, vol.IV, pp. 265266. 21 ibid., 250-252.

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Description of the Monastery

The Main shrine: kyamuni Buddha The main shrine where Lord Buddha kyamuni is venerated is a threestoreyed structure, with all three of its roofs gilded. The pinnacle of the main temple is a row of 13 small stpas, with three umbrellas topping the three central stpas. The first and second roofs are supported by numerous struts (tol). These depict the multi-armed deities of the Dharmadhtu maala. Four gilded banners fly down from the roof pinnacle. The small faces at the ridges of the roofs are said to be those of the Mahsiddhas of this continent, Jambudvpa. Just below the ridge is a series of metal bells which tingle in the breeze. The curved roof corners are mounted by miniature birds holding leaves in their beaks. Below are four metal plates embossed with the four heavenly kings. As is the case with most Newar monasteries, the main deity is kyamuni Buddha, located in the shrine opposite the entrance door. He wears a serene expression. Unlike Buddha images of the Theravda tradition, this Buddha is richly adorned in the Mahyna style. He wears a diadem, ornaments, and necklaces; his crown is embedded with emeralds and a diamond known as urakoa is studded between his eyebrows. Like most Buddha images seen in Newar monasteries, he wears a yellow robe and makes the earthtouching gesture (bhmispara mudr). He also has an ua on the crown of the head, and long-lobed ears. Golden in color, he bears the thirty-two major marks and eighty minor marks of a Sambhogakya Buddha.22 He is always seen with an alms bowl (piaptra) in his left hand, which rests on his lap, and he is flanked by his chief disciples riputra and Maudgalyyana, who wear monastic dress. In front of the Buddha, two bells used in daily worship are suspended from the ceiling of the shrine. In front of him is an image of Buddha Vajradhara. In the view of some, this is the Hindu god Balabhadra; however, the image is clearly the Buddhist deity Vajradhara, displaying the vajrahukra mudr. Above the doorway leading to the main deitys shrine is a solid silver toraa (arch or tympanum). The central figure on the toraa is Buddha Akobhya identified with Buddha kyamuni displaying the earthtouching gesture. He is flanked by his chief disciples riputra and22

CHAPTER VDESCRIPTION OF THE MONASTERY HIRAYAVARA MAHVIHRA has a beauty all of its own. It is multi-storeyed and heavily decorated with gilt ornaments. At the center of the inner courtyard, a free-standing shrine is dedicated to Svayambh caitya. In the paved courtyard, numerous bronze sculptures, oil lamps and prayer wheel railings are displayed. A raised circumambulatory walkway gives access to the main shrine and to the connecting buildings, which now house sculptures, whose artistry and profundity are renowned both in Nepal and abroad. Entrance Setting Two black stone lions guard the monastery gate known as Bhairava Door, on which Bhairavas eyes are painted. After entering the gate and walking along a short narrow path, we reach a second stone gateway, surmounted by a stone arch that displays tantric forms of the five transcendental Buddhas. Images of Nryaa and iva are installed on both sides of the door as guardians. On the right side of the narrow path is the platform where a counter was recently set up to sell tickets to tourists. The revenue from ticket sales goes towards the performance of daily rituals and the upkeep of the monastery. Inside the door is the reception office, where a paid staff member takes care of the daily upkeep and deals with the god-guardians problems and complaints. From here one enters the raised walkway that leads around the main courtyard of the temple. The doorway that opens into the main courtyard from the passageway is mounted by a large bronze toraa similar to the one over the main shrine. From here one may descend into the courtyard and circumambulate the central shrine of Swayambhu chaitya. To do so, one must first remove any leather shoes and don plastic slippers kept at the ticket counter. (See pictures 1, 2) 18

One of the three kyas of the Buddha, the other two are Nirmna Kya and Dharmakya

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Chapter V

Description of the Monastery

Chapter V

Description of the Monastery

Maudgalyyana, and backed by the remaining four of the five Buddhas. On the top of the toraa is a figure of Buddha Vajrasattva. A second identical silver toraa stands above the first. At the base of the shrine, a platform standing 2 feet above the courtyard is considered to be even more sacred than courtyard itself. No one except the currently officiating god-guardian, and his family and helpers, may set foot on this platform; however, on certain ceremonial occasions, caretaker committee members and officiating Vajrcrya priests may also step upon it. On the shrine wall, a series of repouss scenes depict the life of the Lord Buddha according to Lalitavistara Stra. The scenes on the left show the major events, including: the Buddha being miraculously born from his mothers side; his seeing the three signs a dead man, a sick man and an old man which motivate him to renounce his princely life; his shooting an arrow through seven trees; his leaving the palace on horseback; his cutting off his own hair; and his final triumph over Mra and attainment of enlightenment. All these scenes are depicted on the leftmost section. In the right section, he is saluted by all the gods as he proceeds triumphantly on a holy serpent (nga) to Lumbini.23 Four-feet tall Lokevara statues, together with images of the Buddhas chief disciples, riputra and Maudgalyyana, may be seen on either side of the main entrance. Above the toraa of the main shrine are seven seated images. These depict Prajpramit, the five transcendental Buddhas and Six-syllable Avalokitevara, which together signify the triple Gem in the Mahyna Buddhist pantheon. Four large bronze oil lamps are suspended from the roof by chains. On both sides of the entrance to the main shrine are large bronze lions of excellent workmanship, on the back of which stand two Sihanda Lokevaras in the playful (lalita) posture. In addition, a large bell dated 1608 CE hangs to the left of the main shrine gate, which is also dated to the same year. (See pictures 3, 4, 5) The courtyard shrine: Swayambh Caitya Legend suggests that the Swayambh caitya shrine, standing at the center of the courtyard, which enshrines the lineage deity of Kvbah membersThe names of the attendant gods, from left to right, are: Varua, Yamarja, Nryaa, Brahm, Mahevara, and two Devalokas to the Buddhas left; then the Buddha riding a nga, followed to the right by Indra bearing a parasol and five monastic disciples. See Gail, Klster in Nepal, fig.30.23

(including myself), predates the monastery. It is attended by ten elders (Daapramit jus) of the Kvbah Sagha, who serve for a period of a month at a time. Once each year, in April/May, all members of the Kvbah Sagha should come to the shrine to perform lineage worship (digu pj). The monastery has the largest initiated membership of any Newar monastery of the valley. Some of them now live in other parts of Nepal such as Dolakh or Tnsen, in the west, or Bhojpur or Chainpur, in the east and they make a point of returning to Lalitpur for the ceremony. This shrine, which exhibits some extraordinary metalwork, has a dazzling appearance. The roof is entirely covered with gold. The pinnacle consists of four serpent deities (ngas) with their curved tails raised to hold a seven-tiered umbrella (chatra) over the bell-shaped dome. Four metal banners hang down from the pinnacle, one over each side of the shrine. The pillars of the shrine are decorated with small, fine statues: twelve forms of Avalokitevara,24 as well as the five transcendental Buddhas in the cardinal directions. There is also a rare image of Majudeva with his two consorts Varad and Mokad. Two donor images sculpted in bronze, which face the main shrine, were installed by Rjendra Siha and his wife in 1804 CE. The headdress of the donors is in the Rjput style of the period. By contrast, two donors sculpted in stone on the other side, dated 1608 CE, are depicted in old Newar style. Of all the bronze images in the courtyard, the largest and fiercest are the four five-foot-tall celestial beasts (vyala) mounted at the four corners of the shrine. They have long pointed teeth, sharp curled claws, curved snouts and stand on their hind legs. (See pictures 5, 6) Vajrasattva shrine In the northwest corner of the courtyard is the shrine of Vajrasattva, who is regarded as the dibuddha by Nepalese Buddhists. Vajrasattva also has a father-mother-type form; this form is not publicly exhibited, but may be shown only to those who are initiated into Highest Yoga Tantra.The twelve statues of Lokevara are (south side): 1. Padmantevara; 2. Harihariharivhana Lokevara; 3. Trailokyavaakara Lokevara; 4. Rakta Lokevara; (east side:) 5. Nlakaha Lokevara; 6. Myjlakrama Lokevara; 7. Kraavyha Lokevara; 8. aakar Lokevara; (north side:) 9: rmat Lokevara; Halhala Lokevara; 11. Khaarpaa Lokevara; 12 Sihanda Lokevara. For the inscriptions cf. Gail, Klster, p.40.24

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Chapter V

Description of the Monastery

Vajrasattva is a very popular tutelary deity for Nepalese Vajrcryas. All the Vajrcryas of Kvbah (presently numbering approximately 300) are obliged to attend the shrine, each for a period of two weeks. The shrine also houses other important deities such as the Buddha Vairocana, Vasudhar, Majur, and Karumaya. Some forty years ago this shrine was closed to visitors. The principal doorway to the Vajrasattva shrine faces east, and there is secondary access to the shrine in the form of a small window, found on the south-facing wall. Visitors use this window for offering worship materials. In the upper part of the window is a toraa depicting the eight-armed, three-headed Vajrasattva as the central deity, flanked by two bodhisattvas. At the top of the toraa is a figure of Mahvairocana seated on a Garua throne, surrounded by four Bodhisattva figures, which include Majur. The eastern door of the Vajrasattva shrine is ornamented by a beautiful toraa depicting Vajrasattva with a painted panel of the Five Jina Buddhas (See 7, 8). Tr Shrine On the south side of the courtyard is the Tr shrine, established in 1958 CE. The shrine is mostly frequented by the devotional song group named Jnaml Bhajana Sagha, presently having 80 members. The shrine houses other images including Majur. The members of the Jnaml group must each attend the shrine for a period of two weeks. As Tr represents the entire enlightened deeds of all Buddhas, she is known as the mother of the Buddhas of the three times. A stra recalls how Avalokitevara Bodhisattva saved and ferried over countless suffering beings from the sea of birth and death. One day, when Avalokitevara beheld the misery of the world, he shed tears out of his great compassion. The tears turned into a lotus flower, from which appeared the white and green Trs, who said to him: Please dont be sad. We shall assist you in liberating living beings. Although they are countless in number, the power of our vow is also immeasurable. Since that time, the two Trs have been liberating countless sentient beings every day. There are 21 forms of Tr, the Saviouress. In reality, they are all transformed bodies (nirmnakya) of Avalokitevara, the Bodhisattva of compassion. 22

Green Tr usually appears as beautiful young maiden. Her body is green. She has one face and two arms. She wears a crown ornamented with images of the five Buddhas, as well as all the jewel-studded Bodhisattva ornaments, and many-colored celestial garments. She sits on a lotus throne in lalita attitude (ie. in the half-lotus posture). Her left hand shows the gesture of giving refuge vows, and her right hand shows the varada mudr, indicating that she is quick to respond to the petitions of those who seek her aid. Through the cultivation of Trs sdhan, all demonic and karmic obstacles may be eliminated, disasters avoided and ones life lengthened. (9) Nmasagti Majur In the northeast corner of the courtyard is the shrine of Nmasagti founded in 1985 by the fifteen-member Nmasagti recitation group. To Nmasagtis left is Maitreya, to his right is Tr. Members must each attend the shrine for a period of one month. They are required to attend the morning ceremony at which they recite the Nmasagti text and other hymns in the pre-dawn hours. It is here that the god-guardian spends the night. Majur Nmasagti is one of the important manifestations of Majur, the embodiment of the wisdom of all Buddhas. It is said that he was already enlightened countless aeons ago; in kyamunis time, he appeared as one of the Buddhas eight chief disciples. Since innumerable Buddhas throughout the ten directions have already been his disciple, he is called dibuddha Majur. The deity Nmasagti is very popular in the Valley, and the text which bears his name holds profound spiritual significance for many. (10)

Amitbha Buddha and his two bodhisattva attendants On the first floor of the adjoining southern hall is the shrine of Amitbha flanked by two bodhisattvas. Amitbha means immeasurable light in Sanskrit. He resides in the western land of unlimited bliss, Sukhvat. Two bodhisattvas, Avalokitevara and Mahsthmaprpta, assist him. When he was still a Bodhisattva, he was called Bhiku Dharmkara. He made forty-eight vows to establish an adorned land of unlimited bliss to ferry over those living beings who recite his name. Any sentient being who 23

Chapter V

Description of the Monastery

Chapter V

Description of the Monastery

has faith, upholds vows and practices diligently will be received by this Buddha and reborn in the pure land. Amitbha Buddha presides over the Bhadrakalpa, i.e. the Fortunate Aeon. He is always depicted making the Dhyna mudr, and can be recognized by the symbol of the lotus, the deity family to whom he belongs. The recitation of the name of Amitbha Buddha is a common practice in China, Korea, and Japan. In Tibet, too, devotees frequently recite prayers asking to be reborn in the land of Amitbha Buddha. Recently, the Vihra Reform Committee commissioned a series of frescoes to depict the Sukhvat heaven, the Akobhya heaven, the thirty-five Confession Buddhas, the Five protectress Deities, the Five Buddhas and the Four Heavenly Kings. This shrine also houses a number of Dpakara Buddha images that are displayed during the Samyak Festival of Dpakara, held every five years. The inscribed wooden toraas above the two doors on the east and west ends of the southern building depict the Jinas of the Dharmadhtu Maala. (See picture of the toraas; Picture 11) Amoghapa Lokeshvara Shrine The hall on the first floor of the north side of the building, known as the Gompa, contains an excellent image of Amoghapa Lokevara as well as a very large prayer wheel. Amoghapa Lokevara has eight arms and is flanked by White Tr and Green Tr. Images of other Buddhist deities, such as the Thousand-armed Lokevara, Maitreya, Padmasambhava, the Medicine Buddha, and Tr adorn the shrine. The walls of the monastery building are decorated with frescoes of figures from the Tibetan Buddhist pantheon, such as Guru Padmasambhava, the Eight Great Bodhisattvas, the Thousand-armed Lokevara, Buddha Aparimit, the Medicine Buddha, the two Herukas, the Wheel of Life (bhavacakra), the Four Heavenly Kings, the Trs and innumerable Bodhisattvas and Gurus of the Tibetan tradition. The gompa also stores a set of the Tibetan Tripiaka the Narthang edition of the Kanjur and a copy of the Ser phyin, namely the Perfection of Wisdom in Eight Thousand Lines. This Amoghapa shrine was built by the Sagha lay patrons from Kvbah who were known by the generic title of Lhasa Newars. At present, 24

the Saddharma Surak Sagha, an organization which takes care of daily rituals and ceremonial pjs, has more than forty members (including the author), all from within the Kvbah sagha. Learned Tibetan Buddhist masters often come here to give initiations and teachings on the on the dharma. Indeed, for Newar lay people, this area of Kvabah is a center of Tibetan Buddhism. Here, lay devotees perform the fasting rite called Nyu ne, as well as the Aam vrata, Daam pj and so forth. At present, there is no resident monk at the gompa; however, Newar monks ordained in the Tibetan tradition often come to the shrine to give the upoadha vows, five precepts, and eight precepts to the laity. Amoghapa Lokevara is a multi-armed form of Avalokitevara that seems to have been popular in Nepal since the Middle Ages. As his name suggests, he is the lord of the world with an infallible noose, which is used to lasso suffering sentient beings and lead them on the path to enlightenment. According to the Amoghapa Hdaya Dhra Stra, ninety-one aeons ago, Avalokitevara received the transmission of this Dhra from Lokevararja Tathagata. Ever since then he has used that dhra to teach limitless sentient beings. As Avalokitevara manifests his transformed body (nirmakya) and uses this Dhra to ferry over sentient beings, he is therefore addressed as Amoghapa. Amoghapa is popular not only in Nepal but also in all countries where Mahyna Buddhism has spread. The earliest known Nepalese image of Amoghapa can be found in the rya Amoghapa Stra preserved in Kear Library, Kathmandu. (12, 13) Mahkla After entering the second entrance door, the reception office lies to the right. Opposite, on the left, are images of Mahkla and the vase of Guhyevar emerging from a lotus. Mahkla is worshipped by both Hindus and Buddhists, and can be seen at the entrance of most Buddhist monasteries of the Kathmandu Valley. He is said to be a protector of the dharma. There are several forms of Mahkla: two-armed, four-armed, six-armed and sixteen-armed. The two-armed form of Mahkla sculpted in stone is widely found in the Newar Buddhist tradition. Mahkla is said to be a manifestation of Bodhisattva Avalokitevara.2525

Shakya, 1994, p.69.

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Description of the Monastery

Chapter V

Description of the Monastery

Mahkla has remained the main protector of the dharma in most of Nepals monasteries. (14) Guhyevar shrine The image of a vase (kalaa) lies next to the Mahkla statue. Here the vase symbolizes the primordial source of the lotus from which the luminous form of Svayambh first emerged, later taking root at the Guhyevar shrine near Paupati. This is a proxy shrine of Guhyevar, who is the personification of selflessness, Nairtm Dev. Prajpramita Scripture A widely renowned and venerated text, the rya Aashasrik Prajpramit Stra (Perfection of Wisdom in Eight Thousand Lines), written in gold Rajan script, has been preserved in the main shrine for generations. Noone is allowed to enter this shrine except the two priests who are currently attending the deity, and small boys who have just been ordained as monks in their Barechuyegu ceremony. However, it is brought out of the shrine almost daily by the two bphc assistants of the godguardian, to be recited by Buddhist Vajrcryas, whose spritual conduct is more strictly regulated. Since the text contains the profound wisdom teachings of Lord Buddha, the recitation of this stra brings blessings to devotees who have commissioned the reading of the text, as well as to all sentient beings. The manuscript dates back to NS 345 (1215 CE) and was copied by Bhiku nanda of Kapitanagar during the reign of Abhaya Malla (1217 1255). It is illustrated with several miniature paintings of the birth of Siddhrtha and so on. (15) Four Metal statues Situated at the four corners of the monastery courtyard are four Avalokitevara statues. Wary of theft, the Monastery Reform Committee has installed thick metal belts around their midriffs to secure them. Art historians believe three of the images are of Padmapi Lokevara: the statue in the northeast corner dates to the 12th century; the statue in the northwest corner, to the 10th century; and the statue in the southwest cor26

ner, to the 14th century. In the southeast corner is a statue of Majur as a child, dating to the 14th century. (Pictures 1618) Dharmadhtu Maala The copper repouss maala is found in front of the Svayambh Caitya on the east side. It is surmounted by a vajra and covered by a metal canopy. The inscription at the base gives the date of consecration as NS 984 (1864 CE). The deities are depicted on the horizontal embossed surface of the maala. Only the deities of the maalas central pavilion are shown with their various attributes. (19)

Four Monkeys in the courtyard The presence of four monkeys in the courtyard of this monastery reminds us of the story of the monkey Jnakara in a dense forest. Dpakara visited this forest of monkeys, bringing good fortune to its inhabitants. Hearing of Dpakara Buddhas visit in their forest, the monkey collected what little alms they could afford to give. Here the Four monkeys are shown presenting gifts of Jackfruit to the Buddha Dpakara. (See Pictures). Upon receiving the gift from Jnakara, Dpakara gave him some instruction in the dharma and promised him transformation into a man . In the Kapisvadna, the monkey after offering jackfruit fell into a well and died instantly and was reborn as a human being as Dharmar as a result of merit of their gift to the Buddha. The transformation from monkey Jnakara to Dharmar is an interesting feature of the story. Within this story, the most important life event for Dharmar is his gift of dust to Dpakara Buddha. Seeing the Buddha approach, Dharmar reached down and picked up a handful of dust to offer the Buddha. When the Buddha received the small offering of dust, it turned to gold because of the pure intention of Dharmar. Buddha Dpakara again predicted that for this good conduct, he would be reborn as Sarvnanda, the king of Dpavat. Throughout the bah and bah courtyards of Kathmandu valley, the group of monkeys offering alms to Dpakara Buddha appears as represented in the corners of the courtyards of Hirayavara Mahvihra. They symbolize the four alms giving to Dpakara: 27

Chapter V

Description of the Monastery

Chapter V

Description of the Monastery

1. 2. 3. 4.

The gift of jackfruit The gift of dust The gift of alms giving of King Sarvnanda and the Guita Nakn The gift of pacadna of King Sarvnanda

King Sarvnanda seems to be first king of Avadna literature who introduced Pacadna festival of Newar Buddhist tradition. From what is known about the Dpakara story, the pacadna festival is held on the anniversary of the kings initial gift to Dpakara. Dpakara Buddha thus became the object of devotion to the localized mythology of Newar Buddhists of the Kathmandu valley Yogmbara Shrine The Tantric shrine of Yogmbara/Jnakin is located on the first floor of the building on the eastern side of the courtyard. A toraa adorns the entrance door of the Yogmbara shrine (see picture). The interior courtyard wall on the upper east level has eight strut figures of female deities, each holding a skullcup (kapla) and flaying knife; these are probably the deities of Yogmbaras maala. Only the Cakrevara, the most senior Vajrcrya member of the monastery, is permitted to visit the shrine of Yogmbara, a highest yoga tantra deity. Certainly, no outsider or foreigner may enter. Most of the ceremonies related to initiation, such as tonsure (ckarma), the coronation of a tantric priest (crya abhieka), gatherings of yogins (gaacakra), and the singing of performance songs (carygta) are carried out here. Only the ten senior most elders (jus), known as the Ten Perfections (Daapramit), may serve in the shrine of Yogmbara/Jnakin. The Ten Perfection elders have special seating arrangements during tantric performances. Members of the Kvbah Sagha also gather here for their annual lineage worship ceremonies in April/May, where they hold ritual feasts. (Struts and toraa 20) Cakrasamvara Shrine Passing out of the back entrance of Kvbah, located in the southwest corner, one enters the residential courtyard called Ilnani. Here is Kvbahs 28

other tantric shrine, dedicated to the tantric deity Cakrasamvara, which was constructed in 1692 CE.26 Twelve strut figures depict the ten wrathful deities of the directions,27 holding skullcups and flaying knives, as well as two of the female birdfaced guardian deities28 of the Cakrasamvara maala. This too is closed to outsiders. It is here that twenty elders hold regular meetings and conduct worship such as amipj, aamvrata and so on. Once a year, in October/November, the open space in front of this shrine is used for a feast called Sagha bhojana, in which all initiated members of the monastery (now more than 3000 in all) participate. Cakrasamvara is a deity of Highest Yoga Tantra. He is the perhaps the most popular among Newar Buddhists; almost all the kyas and the Vajrcryas of Patan and Kathmandu regard Cakrasamvara as their tutelary deity. Vajrcryas have inherited the age-old Cakrasamvara practice, a highly developed technique of contemplation to realize the Clear Light and emptiness aspects of the mind. A special tantra called the Herukbhidhna tantra (also known as the Cakrasamvara mlatantra, or the Laghusamvara) is dedicated to this adevat. On the ground floor is a small shrine dedicated to the deity Candamahroaa, the eliminator of distress, obstacles and adverse circumstances. The shrine is surrounded by the three miniature images belonging to the group of Great Eight Mahsiddhas. That is why visitors to this shrine are more numerous by comparison with other shrines. One can often see devotees, confident that the worship of this powerful tantric deity will bring efficacious results, lining up at this shrine.

26 27

Kathmandu Valley Preservation Trust, p.139. They are: Yamntaka, Vighnntaka, Acala, Mahbala, Prajntaka, Padmntaka, Takkirja, Nladaa, Uacakravartn, and umbharja. For details see my Iconography of Nepalese Buddhism, pp. 5459. 28 Uluky (1st strut) and Kky (12th strut).

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Chapter VI

Ritual at the main shrine

CHAPTER VIRITUAL AT THE MAIN SHRINE IN THE FOLLOWING I present an account of the daily routine I followed during my month as the monasterys god-guardian (devaplaka), a responsibility which all members of Kvbah must assume at least once in their lives. In other Vihras, the role of god-guardianship passes in turn down the roster of members from the most senior to the most junior for a week, a fortnight, or a month at a time. Depending on the number of members and length of service, ones turn may occur once a year, once every few years, or at even longer intervals. In the case of Kvbah, whose membership is very large, ones turn comes only once in a lifetime. (The Sagha is restricted to male kyas and Vajrcryas.) As I was ordained in 1956, my turn fell forty-three years later, in the month of May/June 1999. At the outset, I appointed two young male assistants called bphc senior and junior, of 8 years and 22 years in age, respectively. Their role was to assist me in attending to the main shrine. I also appointed a young lady known as Nikulimha, who was to cook the food to be offered to the Kvbahju and to these two bphcs. I registered my application in the evening, usually 8 or 9pm, in front of the Yogmbara Shrine, along with traditional ritual offerings. A Gurumaala rite was performed by the most senior Vajrcrya, called the Cakrevara-ju, whose responsibility is to attend to the Yogmbara Shrine. Only he is permitted to see the main deity of the shrine. After performing worship at the Yogmbara shrine, the Vajrcrya blessed and gave prasda to the bphcs, after which they were not allowed to eat anything until they became full-fledged temple priests. The next day, both bphcs went to bathe in the Bgmat River, shaved their heads, and donned the white garments of a temple priest. It is a monastery rule that the two bphcs must wear the same white garments for the whole month; they are forbidden to wash them, however dirty they might get. 30

Around 1 PM, they came back to Kvbah and rested in the Swayambh shrine, waiting for the moment when all the paraphernalia and ornaments of the main deity were handed over in the presence of members of the Kvbah Sagha. At 3 PM, the new temple priests entered the main shrine and offered betel nuts and coins with rice grains at 37 different places within the main shrine, and offered lit lamps to the deities. The outgoing priests instructed the new priests about how to conduct the daily rituals. The outgoing priests then left the shrine, carrying yellow sandalwood paste and flowers. Then the Betju, the chief ritual officer, checked each item on the roster of articles. If there is a discrepancy, or some items cannot be located, then the god-guardian has to pay for the loss or replace them. The godguardian is burdened by the fear of losing such articles during his tenure, as well as by the lack of manpower and by the expenditure of the substantial sums of money involved in attending to the shrine for a whole month. After all the items have been checked, the list is handed over to the new god-guardian, and both outgoing and incoming god-guardians must offer refreshments to the elders and their family members and to people who have been invited to observe this ritual event. Now the new bphcs take up the position of temple priests inside main shrine. It is they who actually perform the rituals, whereas the godguardian oversees and coordinates, but rarely participates directly. First Watch At about 3 AM, the recital group comes to Kvbah to chant the Nmasagti. After they have recited for about twenty minutes, the senior bphc, who has slept the night on a mat near the Vajrasattva shrine, gets up and takes a bath. He goes into the shrine of the Kvbahju and bows to kyamuni Buddha. He sweeps the floor clean inside the shrine and lights the wicks of its lamps. He removes the clothes of the Kvbahju, takes a water pot located inside the shrine, and goes to fetch water from the well. Having fetched the water, he puts down the pot of clean water at the shrine door, and goes out to wash his face. Then he takes it inside, bows to the Buddha again, and rinses the Worship Plate (pjbha), water pot, and silver plate (babhu), placing them all in front of Vajradhara. He pours half of the pure water into the flask (kalaa), and grinds yellow powder (mhsu sinha). As soon as he has finished this, he lights a ghee lamp. 31

Chapter VI

Ritual at the main shrine

Chapter VI

Ritual at the main shrine

By this time the recitation of the Nmasagti will have reached the halfway point; the coordinator of the Nmasagti recital groups asks the devaplaka to wake up the junior bphc, whereupon the younger priest gets up, hastily washes his face, enters the shrine and bows down to the deities therein. The senior priest then comes out to light the wicks along the balcony and again goes inside. Then, while the junior priest rings a bell, the senior priest pours water from the flask onto the silver plate, takes the small flask which stands on it, and washes the faces of the main deity (Kvbahju), and of Vajradhara. After this, he makes offerings to the deities while the younger priest shows the Buddha his reflection in a mirror. Standing at the doorway, he also holds up the mirror to Svayambh. The junior priest then sprinkles pure water on Svayambh and over the waiting devotees. Meanwhile, the junior priest comes out with rice and a flask in his hand, and puts rice and water in a circle on the maala on the balcony. Next, the two priests come out to strike the wooden gong 108 times. Meanwhile, the devotees, who by now are reciting the concluding verses of the Nmasagti, watch the ritual with rapt attention. Usually, on receipt of small amounts of money from the devotees, the Nmasagti Recital group may also recite various dhras: the Aparimit Dhra for long life, the Bhaiajya Buddha Dhra for patients, or the Tr Dhra for the sake of overcoming obstacles. During my period of guardianship, three foreigners were invited to witness this beautiful morning ceremony, and each of them contributed towards the dhra recitation and offered flowers to kyamuni Buddha in the main shrine. On completion of this ritual, the junior priest rings the bell, and the recital members come up onto the balcony below the shrine of Kvbahju (or Kvbju) and read the Buddha trailokyantha. When this is over, the senior priest takes the yak-tail fly whisk, and the junior priest takes the silver whisk with peacock feathers, and the two of them ring bells while the recitation of the Dnabalena is underway. Then, the two priests dot yellow powder paste (mhsu sinha) on their foreheads, and give yellow paste and flowers to devotees waiting in the courtyard outside. Other devotees continue coming to the monastery for worship until about 8 or 9 am, or later on important days (such as full or new moon, sakrnti/sanhlu, or the eighth day of the month). 32

Second Watch At this time, the lady who prepares the priests food arrives; she is known as Nikulimha. She goes into the kitchen, removes the clothes she has arrived in and puts on clean clothes. She fetches pure water, smears cowdung on the floor inside, and makes the cooking area neat and clean. She then comes to the door of the main shrine, and the senior priest passes her the worship plate with a ghee lamp, wicks and a small water pot upon it. She takes these back to the kitchen, lights the ghee lamp, and prepares the priests meal of pure food (plan). At 9 AM, the junior priest goes off on his rounds, ringing his bell in the neighborhoods of Nhu Bah, Nykhchowk (my ancestral home), Tpa Hii, Ng Bah, Il Nani, and Saravat Nani, returning via the main door of Kvbah. He stands at the door of the shrine, puts down the things he has been carrying, and the senior priest sprinkles him with holy water (jala) and hangs up the paraphernalia. The junior priest then washes his face, goes into the main shrine and bows to the deities. The two priests again beat the gong 108 times, and while the junior priest rings the bell, the Buddham trailokyantham is read. Once again, they bow to the deities within. After a short while, the junior priest takes the silver food carrier to the kitchen and places it outside the door. The cook washes it, puts food on three worship plates, places them in the silver carrier, and puts it outside. The junior priest puts one plate before the Kvbju, one before Vajradhara, and the other he scatters around for the mice. Then the junior bphc goes to eat; after a little while, the senior bphc does the same. Any food other than milk, rice green lentils, ghee, molasses, or ginger is forbidden. After this, the priests may take a rest and if they are sleepy, lie down for an hour and a half, until noon. Third watch The priests must wash again, and may not touch anyone. At 3 PM, they enter the shrine and bow to the gods. The junior bphc puts on the shoulder robe (cvara) and comes out wearing monastic sandals (kvplakn). The senior bphc takes the large wooden gong outside, and they beat it 108 times. The junior bpc goes inside and rings the bell while the Buddham trailokyantham is recited outside. At 4 PM, the cook goes into the kitchen, changes into a set of pure clothes, and goes to fetch pure water. Then, she 33

Chapter VI

Ritual at the main shrine

Chapter VI

Ritual at the main shrine

puts out beaten rice, molasses, cakes, fruit, and yoghurt for the priests. She calls them, and they come to eat. Fourth watch After eating, the priests may take a short rest, and at 5.30 PM they wash again. The senior bphc goes with two water pots to the well to bring pure water. He puts down the pots outside the shrine and washes his face. Then he goes in and bows to the deities. The junior bphc likewise washes his face, sweeps the balcony, goes into the shrine, brings the flask outside, and pours water on the maala there. The elder priest takes out the wooden gong and rests it on the junior bphcs shoulder. The junior bphc again beats the gong 108 times. After a while, as before, the junior priest goes off ringing the bell. Meanwhile the Nikulimha comes to offer wick lamps to the various deities, as specified. By this time, the junior bphc has returned from his tour. He takes off his shoulder robe and bell, and comes out of the shrine. The senior bphc stays inside for those who come to read in the evening. At 7 PM, the junior bphc washes his face and goes into the shrine. The readers come and take out the hymn book and the younger priest rings the bell while they read the Buddham trailokyantham. When the reading is finished, the priests stand at each side of Kvbju, ringing bells and waving their whisk, while the Dnabalena is read. When this is over, they light the dpa jvl lamp, they wave it around while ringing the bell. Both the bphcs then take the light, and so do those who have read. Then they read more verses, while the younger priest rings the bell and elder priest waves the lamp (rat). When the reading is over, the rat is put down, and the senior bphc takes the Worship Plate, worships Kvbju with the rice, applies yellow paste to his forehead, and then also to Vajradhara and the other deities around him. Then the junior bphc takes a spot of yellow powder paste for himself, and the senior bphc does likewise. Then they give it to the readers outside in the courtyard. When everyone has placed a spot of paste on his or her forehead, the paste bowl is passed back inside. The senior buphc then covers Kvbju with a special cloth, while the junior bphc comes out with the key. The senior baphacha puts the flask and silver plate in front of Vajradhara, and 34

then puts out rice for the mice. He puts three piles on the silver plate, and three at the legs of the Flasks tripod. Then he uncovers the pure water pot, bows to Kvbju, and comes out. He locks the shrine door with an old key, and checks to make sure that the shutters and doors are closed up. By 9.30 PM, their daily duties are over and they rest.

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Chapter VII

Festivals at the monastery

CHAPTER VIIFESTIVALS AT THE MONASTERY SEVERAL RELIGIOUS FESTIVALS carried out within the monastery. Among them, the following are most popular: a) Samyak/Dpakara Festival of Patan: The monastery management committee organizes the Dpakara/Samyak festival once every four years, a colorful ritual in which large bronze Buddha images among them, one of Dpakara Buddha are honored and worshipped. The festival has remarkable historical origins; see the Appendix for details. b) Pacadna: Pacadna is an annual festival, taking place during the first few days of the month of Gunl (corresponding to July/August of the western calendar). During this Buddhist holy month, Newars visit Buddhist monasteries, the bahs and bahs. On the occasion of pacadna, kyas and Vajrcryas are honored as Buddhist monks, and they receive alms called pacadna from devotees. In Patan, this ceremony falls on the eighth day of the bright half of the month of Bhdra. The earliest reference to this festival can be found in a classical story, the Sarvnanda Npa Avadna. The story runs thus:29 Sarvnanda, king of Dpavat city, once invited the Buddha Dpakara to his city, where he ceremonially received him and presented him with an alms bowl. Before Lord Dpakara reached his palace, however, he first approached an old virginal lady, Lakm Thakun, and received handful of rice grains from her as alms. When Dpakara Buddha entered the royal reception hall, the king asked the Lord to tell him why he had taken these29

alms. The Lord thereupon spoke on the relative merits of giving alms which one has earned by the sweat of ones brow, and which one can give with heartfelt devotion and true faith; whereas the alms which a wealthy man gives lacks hard-earned sincerity, and not only involves an display of power, but implies competition. When the Sarvnanda realized the true meaning behind the practice of charity and beneficence, he gave up his royal pleasures and went to work in a blacksmiths shop, and managed to earn some money through hard labor. He once again invited Dpakara Buddha, and this time presented him with an alms bowl which he had prepared with the money gained through his own toil. This time, his generosity was a truly meritorious act, which earned for him the title of Bodhisattva. For Newar Buddhists, the annual pacadna is the principal setting for the giving of gifts to the monastic community. Pacadna reaffirms the ancient Buddhist tradition of alms-giving to the monastic community. It is the responsibility of the lay community to maintain this tradition, even in the unique socio-religious context of married householder monks. On the morning of the festival, in important temples such as Hirayavara Mahvihra priests in ceremonial garb assemble to receive the Five Offerings (pacadna): unhusked rice, polished rice, lentil seeds, wheat and salt. c) Feasting the Sagha: This is an annual event, in which the main Buddha image of the monastery is carried in procession through adjacent neighborhoods. Devotees sing devotional hymns dedicated to Lord Buddha to the accompaniment of musical instruments. After completing the procession, initiated members of the Kvbahl Sagha gather for a feast in Ilnani, behind the Kvbah shrine. d) Dpakara Festival: This festival is carried out once every twelve years or at even longer intervals, depending on the auspicious time calculated by astrologers for the event. At this time, devotees make a twenty-hour pilgrimage on foot to sacred places in the Kathmandu Valley, worshipping Buddhas, Lokevaras, Trs, and other deities. 37

Adapted from Karukar Vaidya, Buddhist Traditions, 1986.

36

Chapter VII

Festivals at the monastery

Chapter VII

Festivals at the monastery

e) Exhibition of the Gods (Bahdyo Boyegu): The festival of Bahdyo Boyegu is an annual event, taking place during the month of Gunl (corresponding to August/September of the current year). This ceremony is one of the most beautiful events in the religious life of Newar Buddhists. All the monasteries are swept and tidied, and the old images and statues of the different deities are washed, cleaned, and put on show for the purpose of exhibiting the monasterys holdings to visitors. For students of Buddhist iconography, this event is practically an open laboratory, providing the challenge of identifying images from the rich Newar Buddhist pantheon. The materials displayed include Buddhist sculptures, bronze images, old Buddhas (some wooden), thangkas, paintings (paubh), narrative scrolls, illuminated Buddhist manuscripts and so forth. Also displayed are gifts from the faithful, including the clothes they intend to wear in heaven. These are mounted on the walls of the monastery, and are good specimens of a little-known art form. The best in Patan are found at Guita, in the eastern quarter. In Kathmandu, two stories are presented at Itum Bahl, the Guru Mp tale, and at Thabahil in Thamel, the saga of Chakandyo. In Kathmandu, Kathesimbhu (rgha) and the Bahls on the Kumrs Matay route are the most interesting. In Patan, Kvbahs collection is among the easiest to view, but many bahls hold exhibitions, and it can be quite a walk to seek them out. Visitors throng to monasteries for the Exhibition of the Gods particularly on three days of note: full moon day, the second day, and the third day, Matay. f) Gunl dharma: This festival lasts for a full month. It lies between the bright half of rvaa and the dark half of Bhdra. It is known as the Buddhist Holy Month. Kathmandu, Patan, Bhaktapur, Swayambh and dinth are the focal points of worship during this grand occasion. Public festivities, including classical band music and hymn-singing, take place early in the morning throughout the entire month. The display of divine images, particularly effigies of Dpakara Buddha, takes place in all the monasteries of the Valley. Gunl is indeed the sacred month of Newar Buddhists, a time of special prayer and devotional exercises. The month includes events like Pacadna (the presentation of Five Offerings), Bahidyo Boyegu (Exhibition of the Gods), and Matay. Separate festivals are held throughout the month as well. 38

It is a month of light work in the fields; yet many of the pjs require extremely long walks. The Great Stpa of Swayambh, which is illuminated for every night of the month, is the main center of daily worship for Kathmandu Newars. Patan Buddhists, meanwhile, journey to Chobhr and its dinth Lokevara Temple. Devotees begin walking from the city around 23:00 A.M. , many leaving small oil lamps on the trails and roads to either hill. Women at home fashion votive images from rice flour as well as alluvial black clay each morning, accumulating them throughout the month. In the first week, the main destination is Namo Buddha, near Dhulikhel; in the second week, it is Skhus Khagayogin Temple (many also detour to Champak Nryaa Temple on their return); in the third week, the walk to Swayambh, done in the light of the full moon (though some ride buses to and fro). Other hikes are held on Wednesdays. On the 8th day of the bright fortnight, Patan Buddhists convene pacadna, reliving the days when monks lived solely off the alms of the people. From the 12th day of the bright fortnight, the Exhibition of the Gods begins, and Buddhist monasteries in Patan, Bhaktapur and central Kathmandu display their various religious treasures. The exhibition runs through the second day of the dark fortnight. On the 13th day of the dark fortnight, Kathmandu Buddhists stage their own pacadna, decorating bahls with Buddha portraits and adorning stupas. Sometimes, the ceremonials are very elaborately staged, and even include palanquin (khat) processions to and from Swayambh. On the last morning of Gunl, Newar women gather up all their homemade votive images and ritually immerse them in a sacred river. The following day, groups of devotees come to Swayambh Hill for an all-day picnic.

39

Selected Biliography

1992

Monk, Householder, and Tantric Priest: Newar Buddhism and its hierarchy of ritual. Cambridge University Press, Cambridge.

SELECTED BIBLIOGRAPHY

Hutt, Michael 1994 Nepal: A Guide to the Art and Architecture of the Kathmandu valley. Gartmore, Scotland, Kiscadale Publications. La Valle Poussin, Louis de 1898 dikarma-pradpa (rituels tantriques). In Bouddhisme, tudes et Matriaux. Mmoires de lAcadmie de Belgique, pp. 177-232. Locke, John K. 1985 Buddhist Monasteries of Nepal. Sahayogi Press Pvt. Ltd, Kathmandu, Nepal. 1989 The Unique Features of Newar Buddhism. In T. Skorupski (ed.), The Buddhist Heritage vol. I. The Institute of Buddhist Studies, Tring, UK, pp. 71-116. Regmi, D. R. 1965 Medieval Nepal. Mukhopadyaya, Calcutta. Shakya, Min Bahadur 1984 A short history of Buddhism in Nepal, Young Buddhist Publication, Patan. 1986 Introduction to Buddhist monasteries of Kathmandu Valley. YMBA Publication, Lalitpur, Nepal. 1994 Iconography of Nepalese Buddhism, Kathmandu, Nepal Handicraft Association of Nepal. 1997 Nepalese Princess Bhrikuti Devi, Book Faith India, New Delhi. Slusser, Mary Shepard 1982 Nepal Mandala: A cultural study of the Kathmandu Valley. Princeton University Press (reprint: Mandala Book Point, Kathmandu, 1998). Snellgrove, David L. 1987 Indo-Tibetan Buddhism. Shambhala Publications, Boston. 41

Allen, Michael 1973 Buddhism without monks: the Vajrayana religion of the Newars of the Kathmandu valley. South Asia 2, pp. 114. 3 Bangdel, Dina 1999 Manifesting the Mandala: A study of the core Iconographic Program of Newar Buddhist Monasteries in Nepal. PhD dissertation, Ohio State University. Bernier, Ronald M. 1979 The Nepalese Pagoda. S. Chand and Co. Ltd. , New Delhi. Brown, Kerry Lucinda 2003 Dpakara Buddha in Nepal: A contextualization of Newar Buddhist Iconography and Iconology. M. A. thesis, Ohio State University. Bhiku Sudarana 1994 Nepy Bah bah y vieat (in Newari). Bauddha Pariyatti ik, Patan, Nepal. Gail, Adalbert J. 1991 Klster in Nepal. Akademische Druck- u. Verlagsanstalt, Graz, Austria. Gellner, David 1991 A Newar Buddhist liturgy: rvakaya ritual in Kwbah. Journal of the International Association of Buddhist Studies, Vol. 14, No. 2. 40

Selected Biliography

Vaidya, Karukar 1986 Buddhist Traditions and Culture of the Kathmandu Valley. Sjh Prakana, Kathmandu. Vajracharya, Ratnaraj 1993 Kvbahy Vaval (in Newari). Mangalaratna Shakya, Patan.

APPENDIXTHE SAMYAK FESTIVAL OF PATAN Introduction Of all the Buddhist festivals of the Kathmandu Valley, the Samyak or Dpakara festival seems to be unique in many ways. A special highlight of this festival is the display of many large images of Dpakara in the courtyard of Ngbahl. The word Samyak implies the oneness of all sentient beings. In Buddhist literature, we find three forms of enlightenment, namely rvakabodhi, pratyeka-bodhi and samyak-sambodhi. In this context, Samyak stands for Perfect and Sambodhi for Enlightenment. The Samyak festival thus denotes those practices which lead to Perfect Enlightenment, namely, the path of the Bodhisattvas that will bring samyak-sambodhi. The essence of this festival is the practice of Giving, or dnapramit specifically, to monks (kyas and Vajrcryas in the Newar Buddhist tradition) and to Buddhas, especially to Dpakara Buddha, who predicted Lord kyamuni Buddhas enlightenment in a previous lifetime. At this time, Newar Buddhists also honor and venerate the Bodhisattvas Avalokitevara, rya Tr, and so on. kyas and Vajrcryas are said to be householder bodhisattva monks. It is on this occasion that they receive alms and dna from lay upsakas and upsikas. Often, those who give dna or make offerings are referred to simply as bhaktajana, or devotees. kyamunis past-life meeting with Dpakara Buddha Once there lived a certain learned man who was well-versed in Brahmanical lore, who had 500 young Brahmins as pupils. One of these pupils was Megha, a young Brahmin who was learned, wise, judicious, and of keen intelligence. Before long, he had learned all the Brahmanical mantras by heart. After completing his study of the Vedas, he left the Himalayas and went down

42

43

Appendix

The Samyak Festival of Patan

Appendix

The Samyak Festival of Patan

into the country below, in order to seek the fee due to his