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Refuge Trees of other schools

We have seen that each school of Tibetan Buddhism has a Refuge Tree tradition which is its centre of practice, c o m m o n to all followers of that school. T h e general principle of the arrangement will be similar for all schools - all the Refuges, exoteric and esoteric, are ranged in the sky about a central figure w h o is understood to embody them all.

For the Kagyupas the central figure is usually the adi-Buddha Vajradhara. He is deep blue in colour, seated in full-lotus posture. His hands are crossed in front of his heart. In his right hand is the vajra, in his left the vajra-bell. Kagyu Refuge Trees always give prominence to the lineage of gurus we met in Chapter Four: beginning with Tilopa (who was directly inspired by Vajradhara), and continuing through Naropa, Marpa, Mila- repa, and Gampopa. They are also likely to show Cakrasamvara and Vajravarahi prominently positioned among the yidams.

A Guide to the Deities of the Tantra

For the Gelukpas the central focus is Je Tsongkhapa, the founder of their school. He is dressed in monastic robes and the yellow pandit's cap, holding the stems of lotuses which bloom at his shoulders, supporting the flaming sword and book, which denote that he is considered an emanation of Manjusri. In his heart the figure of Sakyamuni Buddha is often to be seen. (One also finds Geluk Refuge assemblies whose central figure is Sakyamuni, with Vajradhara at his heart.)

Geluk Refuge Trees tend to be less obviously lotus-like than those of other schools. Usually the central figure sits on a lotus in the sky with figures on a many-tiered lotus below him. In the sky above and to each side of him are ranged a mass of gurus, so that the overall impression is of a kind of cruciform arrangement around the central figure.

In the sky above Tsongkhapa are great gurus from w h o m the Geluk school particularly draws its inspiration, including a number of Indian

mahasiddhas. To the left, as we look, is the Bodhisatrva Maitreya, usually

represented with a white stupa or chorten as his emblem. To the right is Manjusri, with the flaming sword and book. They are both surrounded by a sea of gurus. Together they represent the Method and Wisdom lin- eages respectively, the teachings dealing with compassionate activity and the realization of Emptiness, which were synthesized by Atisa, whose tradition the Gelukpas continue.

Below Tsongkhapa is a great array of figures on a many-tiered lotus. On the highest tiers are the yidams of Highest Tantra such as Yamantaka, Cakrasamvara, Guhyasamaja, Kalacakra, Hevajra, and Vajrayogini. Be- neath them appear other figures associated with the three lower classes of Tantra. These tend to be serene and peaceful, as opposed to the flame- encircled Anuttarayoga yidams. On the succeeding tiers sit a calm array of Buddhas. A set of thirty-five Buddhas is often depicted. These are as- sociated with a practice of confession used by those w h o have taken the Bodhisatrva vows, based on a passage in the Upali-Pariprccha Sutra. A set of seven Buddhas, known as Manusi Buddhas (Tibetan Sangye Rapdun) are often included too. These are Buddhas of past epochs. They are all seated in full-lotus posture, wearing monastic robes, and can be distin- guished by their hand-gestures. Vipasyin has both hands on his knees, palms inwards, fingers reaching down in the earth-touching mudra.

The Refuge Tree and its Future Growth

Sikhin holds his right hand up in front of him in the vitarka mudra of vic- torious argument, while his left rests in his lap. Visvabhu holds his hands in the gesture of turning the Wheel of the Dharma. Krakucchanda has his right hand on his knee, palm outwards, in the varada mudra of supreme giving; with his left hand he grasps a fold of his monastic robe. Kanakamuni has his hands in the same positions as those of Buddha Sikhin. Kasyapa has his left hand in his lap, while his right makes the mudra of supreme renunciation, known as the Buddha sramana mudra. T h e seventh of these Buddhas is Sakyamuni, the Buddha of our current age.

Also frequently included in the assembly of Buddhas is a set of eight Medicine Buddhas (Tibetan Mentha Deshek gye). These Buddhas, w h o are particularly venerated for their healing powers, are led by the Buddha Baisajyaguru or Baisajyaraja (Tibetan Mentha). T h o u g h he is sometimes represented as golden in colour, his characteristic colour is blue. Indeed he is also known as Vaiduryaprabharaja ('king of lapis lazuli radiance'). His left hand rests in his lap in the mudra of meditation, supporting an iron begging-bowl. His right hand is at his right knee, palm outwards, offering a sprig of the myrobalan plant (Latin terminalia chebula), a healing fruit well-known in Indian medicine. His retinue consists of six other Buddhas w h o are his brothers in healing, and Sakyamuni Buddha, the Buddha of our epoch, w h o is sometimes referred to as the Great Physi- cian because he has taught the Dharma, which is the antidote to the sick- ness of suffering within samsara. (The Four Noble Truths may even be based on an ancient Indian medical formula of diagnosis, cause, progno- sis, and treatment.)

T h e Medicine Buddha appears in contexts other than the Refuge assem- bly. In Indian Buddhism there is a tradition of meditation on a mandala of fifty-one figures, of which he is the central one. He also became an important figure in later Chinese Buddhism. According to Raoul Birnbaum,72 the most c o m m o n set of figures on the principal shrine in

large Chinese monasteries consists of Sakyamuni flanked by Amitabha to his right and Baisajyaguru to his left (which is symbolically the east, the direction in which the Pure Land of the Medicine Buddha is said to be located).

A Guide to the Deities of the Tantra

Below the Buddhas are commonly depicted eighteen arhat disciples. These are a set of sixteen arhats mentioned in Indian tradition, with the addition of their two attendants, Dharmatala and Hva-shang. These dis- ciples of Sakyamuni are credited with having spread the Dharma all over India, up into the Himalayas, and even to the Karakoram. Each has his own individualized iconography.

Finally, on the lowest tiers of the great lotus, come the dakas, dakinis, and dharmapalas. Among the dharmapalas, particular prominence is given to Mahakala and Sridevi.

Below the great lotus stand the Four Great Kings. T h e lotus is a symbol of the total abandonment of samsara, so only those w h o have entered upon the transcendental path are represented enthroned on a lotus flower. T h e kings are commonly shown in full armour. T h e dharma- palas w h o are emanations of the dharmakaya generally scorn all protec- tion, frequently going naked.73 They are i m m u n e to being affected by

anything mundane, for they have seen right through to its true, illusory nature. However, the lokapalas, though they stand at the summit of mundane existence, still need to protect themselves from its slings and arrows.