Clinical Anthropology Copyright
© 2005, 2006, 2007 John Rush PhD ND
Tibetan
Buddhism through the Bardo Thodol,
the Tibetan Book of the Dead
Author: John A.
Rush
Artist: Kim Forrest
Wild Bill’s Tattoo, Roseville, CA
Introduction
The
Tibetan Book of the Dead (Bardo Thodol)
contains many similarities with the Egyptian Book of the Dead suggesting a
sharing of beliefs and practices that predate these traditions by many
thousands of years. Buddhism was not introduced into Tibet until the 8th
Century CE (Current Era), with the Bardo Thodol only systematizing in the 14th
Century CE. The Egyptian tradition predates Buddhism by several thousand years
and certainly predates the Pyramid Texts (around 2500
The role of the shaman is that of an “animal master.” What this means is that it is the shaman’s
role to act as a conduit between the spirit world and the living for purposes
of healing and to make sure that the animals
they are hunting and eating remain plentiful.
In short, the shaman’s job—through communing with the spirits—is to
secure benefits for the group. In the ancient Egyptian tradition, before the
age of the Pharaohs, it is likely that the chiefs were shamans, and through
their rituals and eventual death, they would insure that life continued and
chaos kept at bay. In the ancient Bon
tradition, that is, the system in Tibet before the introduction of Buddhism,
there is a similar theme enacted through ritual for securing benefits for the
living through the dead ancestors. Ancestor worship has a long season and is
the underlying basis of both Western and Eastern beliefs and practices. Another similarity involves the Leopard-skin
priest, imaged in a similar fashion in ancient Egypt and Anatolia
(Turkey). The Anatolia images date to around 5500
The Tibetan Book of the
Dead (Bardo Thodol)
The
Bardo Thodol translates as,
“Liberation through Hearing in the In-between State.” Bardo is a concept that connects an individual’s
death with rebirth. In the Bardo Thodol there are six kinds of
in-between (liminal) states, which can be seen (although inflected differently)
as counterparts to the Gates of the Underworld in the Egyptian Books of the
Netherworld (Book of the Dead, or, Going Forth by Day, the Amduat, The Book of Caverns, etc.). There is first the bardo of birth, then the dream bardo,
the bardo of meditation, bardo of the moment of death, bardo of supreme reality, and bardo of becoming. The first three bardos represent life in sort of
a suspended state, while the last three encompass the forty-nine day process of
death and rebirth. As a general statement this is another inflection of life,
death, and return; this is the universal journey of the shaman. Human consciousness
promotes the building of a story to explain and
at the same time direct our thoughts and behaviors so that a particular
system of life, death, and renewal (culture) continues. And just as there is
much to contend with in life the same is true in death. More importantly, one
should have a proper death. In Judaism, Christianity, and Islam, a proper death
is dying in the service to God by following His rules to the letter. In Judaism, by doing so, you obtain God’s
blessing and entitlement to land and privilege.
In Christianity a proper death can only be obtained by being a
servant/slave to God and/or accepting Jesus as your savior. And what do you
get? A white cloak, a harp, and then you wander in a cloudy mist singing “Holy,
holy, holy!” In the Egyptian tradition,
clean up your life before you die—stop lying, cheating, abusing others
emotionally/physically, stealing, adultery, and so on so that when your heart
is weighed against a feather your heart is not overburdened with guilt and
remorse. In short, be a decent human
being and you get to the Field of Reeds, a very wonderful place. Islam’s proper
death is similar to that of the Jewish tradition, that is, follow the rules,
submit to Allah, and do His and the temporal ruler’s bidding. By doing so you
enter into paradise where there are different levels of pleasure. Dying for
God, at God’s request, or while in God’s service (martyrdom), although not a
common theme in the Egyptian tradition, is important in Judaism, Christianity,
and Islam; God is always first and humanity second—a very dangerous situation
especially when the tradition is imbedded in the politic. Dying in the name of
God is probably the surest method in these traditions of being on the “right
side” of God. There is a provision to this; all these traditions will remove
barriers to a proper death with cash donations.
Proper
death in the Buddhist tradition is somewhat different. First, the Buddhist emphasis is on ignorance
and illumination rather than good versus evil. Eastern traditions, for the most
part, promote illumination, while the Western tradition (Judaism, Christianity,
and Islam) promote ignorance by disallowing critical thinking in spiritual
matters. Back to Buddhism. A proper death is one where the individual reaches
“illumination” before physical death (this is similar to the Egyptian
tradition). Dying in the name of a deity or better yet, dying in the name of
Buddha would not make any sense.
Illumination, in part, is the realization that you are the illumination, the god, the Buddha. Oh yes, money goes a long way in this
tradition as well; people can cleanse their wealth (their ill gotten gains)
with donations to the temple.
The Image of the Bardo Thodol
The
following images were adapted from a Thangka on cloth dating to the 19th Century and coming from the Kam
area of Eastern Tibet. All the images are faithfully rendered in the tattooing
but the positioning of individual deities or demons has been changed slightly
and there is a different background. For
example on the right side are seven Buddhas. In the original they reside on the top of the
cloth. Also, the four Buddhas on the
left side were originally at the bottom.
The coloring of all the Buddhas, Vidyadharas, lamas, and guardian
deities is traditional, while the landscape is of the artist’s (Kim Forrest)
own design using traditional Tibetan landscape renderings.
A
thangka is a rolled-up, portable
picture painting that can represent numerous ideas and philosophical points of
the Buddhist tradition. The tattooing also represents a thangka, not that it can be rolled up in its present state, but
because it is portable. The thangka’s most important role is in one’s sadhana or perfection in meditation, for
example, on one’s chosen deity (ishta-deva). Essentially these are memory devices and, in
a similar manner as the Egyptian Books of the Netherworld, the Bardo Thodol
would be used as a “rehearsal.” Moreover,
and like the Books of the Netherworld, not everyone owned or had immediate
access to these very sacred, magical pictures. Thus they were and still are a
“teaching aid. Monks entering villages unroll a particular Thangka, for
example, the wheel of life (pava chakra)
and draw great attention.
The
tattooing took many months to complete and is rendered here in sequence.
a)
Initial Outlining:
The
outlining is labor intensive. First, the Thangka had to be redrawn in order to
fit a different geography than a piece of cloth laid on a flat surface. Second,
the outline had to be fitted, resided and fitted again and again. In the center of the Mandela is Samantabhadra, or, He Who is All
Prevadingly Good, or He Whose Beneficence is Everywhere, one of the most
important bodhisattvas (an
enlightened being—a teacher, who renounces complete nirvana until all beings
are saved from ignorance) in Mahayana (Large Vehicle) Buddhism. He is venerated as the protector of all those
who teach the dharma (the law) and is regarded as an embodiment of the wisdom
of essential sameness, i.e., insight into the unity of sameness and difference.
Samantabhadra is often seen in the
company of Shakyamuni and Manjushri. He rides a six-tusked white elephant, the six
tusks representing overcoming attachment to the six senses. He is totally
without clothes because he is totally himself.
His consort, or prajna, is Samantabhadri.
He is also associated with Vairochana who evolved from a god who thinks he
knows but accepts illusions too quickly and is thus “demonic” to the primordial
Buddha. In Japan, he is considered the
sun Buddha and the other dhyani Buddhas encircle him. There are five
transcendental Buddhas surrounding Samantabhadra; all have a ghanta or bell in their left hand. Each transcendental Buddha is
of a specific color and has a particular characteristic in their right hand:
1) Vairochana or the illuminator
(directly beneath Samantabhadra); consort (prajna) is Lochana. His right hand is
in the instructional mudra (vitarkmudra). His color is white which can be clear or
cloudy. The negative energy he turns in
the devotee is spiritual blindness or delusional anger; the energy is turned to
awakening. His mount is the lion (image
in the chest under the Buddha). His element is water.
2) Ratnasambhava or Jewel Born (in roundel
upper left). In his right hand he holds
the triratna or triple jewel. His color
is yellow, and he frees us from arrogance. His mount is the horse, his element
is earth, and his prajna is vajradhatvisuari.
3) Akshobhya or the Immovable (Lower left). He holds in his right hand the Vajra or
Diamond Scepter. His color is blue and
his prajna is Mamaki. His mount is the elephant. Akshobhya, who
represents all encompassing wisdom, turns one away from stupidity. His element
is space.
4) Amitabha (the Buddha of Infinite Light). His right hand is in the vitarkamudra (reasoning hand gesture). He works with the energy of
delusional attachment and turns it to compassion. His prajna is Pandaravasin, his color is red, his mount is a peacock, and his
element is fire.
5) Amoghasiddhi or Unobstructed Accomplishment. In his right hand is a vishvavajra or double vajra, which is a thunderbolt on top of
a diamond scepter. His prajna is Syamatara, his color is green, and his mount
is Garuda (half bird/half man). He frees us from jealousy and envy.
Mid-top are the Vidyadharas, or bearers of knowledge, each with his consort, dancing on a
lotus. They are shown with the
corresponding colors of the Transcendental Buddhas. Their job is to guide the deceased to
paradise, but this only happens if the deceased recognizes that their blinding
light is emanating from himself. Thinking that the light is coming from the
Vidyadharas is a temptation. The Text reads:
Listen without distraction. On the seventh day, a
pure, many-colored light will shine in your unconscious mind, and the
Vidyadharas will come from the Pure Realm of Space to invite you.
In the center of a mandala filled with rainbow
light, he who is called the Unsurpassable
Fully Developed Vidyadhara, Lotus
Lord of Dance, will appear, his body bright with the five colors, embracing
his consort the Red Dakini, dancing with a crescent knife and a skull full of
blood, gesturing and gazing at the sky.
From the east of the mandala he who is called the Vidyadhara Established in the Stages will
appear, white in color, with a radiant smiling face, embracing his cohort the White
Dakini, dancing with a crescent knife and a skull full of blood, gesturing and
gazing at the sky.
From the south of the mandala he who is called the
Lord of Life Vidyadhara will appear,
yellow in color, with beautiful form, embracing his consort the Yellow Dakini,
dancing with a crescent knife and a skull full of blood, gesturing and gazing
at the sky.
From the west of the mandala he who is called the Great Symbol Vidyadhara will appear, red
in color, with a radiant smiling face, embracing his consort the Red Dakini,
dancing with a crescent knife and a skull full of blood, gesturing and gazing
at the sky.
From the north of the mandala he who is called the
Spontaneously Arisen Vidyadhara will
appear, green in color, his expression both angry and smiling, embracing his
consort the Green Dakini, dancing with a crescent knife and a skull full of
blood, gesturing and gazing at the sky.
Flanking the
center image of Samantabhadra are the
six Manushi (Mortal Manifestations)
Buddhas. They are the past manifestations
of the historical Buddha (Shakyamuni,
which means sage of the Shakyas, the tribe to which he belonged). As you reincarnate, hopefully like the
Buddha, you move up through successive stages of illumination. The Manushi guard the entrance to the six
worlds of rebirth. Their job is to
persuade the deceased to go toward illumination or Buddhahood and not enter into their realms; why invent
the wheel. The first Manushi Buddha (middle Left-side on top of
other two), holds a lute in his hands.
He is in the realm of the gods.
The Buddha
beneath him on the left is carrying a sword in his right hand and a
representation of a bird, possibly a vulture, in his left hand. The Buddha on the right has his right hand in
the Varada Mudra position indicating
a summoning of Heaven to witness the Buddhahood of Shakyamuni, who is seated in a lotus position. This hand gesture (Varada Mudra) is also a manifestation of
Ratnasambhava and wish granting.
Manushi Buddha right side, on top, is
holding a khakkhara or hikkala in his right hand. This staff served three functions. First, as a walking stick, second to frighten
away snakes and scorpions while walking on paths, and third, when shook it tells to others that they are
in the presence of a begging Buddhist. In his left hand he is holding a begging
bowl.
The Buddha
underneath on the right has his right hand in the Abhaya Mudra or “don’t be afraid,” fearlessness mudra exhibited by
Shakyamuni when he reached enlightenment under the Bo tree. His right hand is
clutching a book or a long bone, perhaps a femur. The Buddha to the left is somewhat of a
puzzle. The Left hand appears to be clutching a long bone (femur) with a brain
on top, while the right appears to be in the Abhaya Mudra but with a flame
issuing forth and almost sitting on his right shoulder. This represents the
impermanence of all.
Right and
Left Sides
The figures
on the right and left sides are symbols representing the antiquity and
philosophy of the artist who painted this thangka along with deities of
protection. The right side contains seven figures: In the center is another manifestation
of the primordial Buddha, Samantabhadra (the center large figure). Thus there
are three Samantabhadra representations, that is, Samantabhadra, Vairochana,
and Vajradhara.
Vajradhara is of central significance in
the Mahamudra School, which represents the higher spiritual teaching in this
form of Buddhism. Vajradhara refers to the “three bodies” (trikaya): Dharmakaya, which is the unity of the
Buddha with everything existing, but it also represents the law (dharma) or the
extensive rules of living connected to Buddhist monks in general. Next is Sambhogakaya,
which is the “body of delight”—sort of a Buddha paradise. And Nirmanakaya,
or the “earthly body in which Buddhas appear to men in order to fulfill the
Buddhist’s resolve to guide all beings to liberation.”
On the top and under Vajradhara are lamas
wearing peaked red hats indicating that they represent the Nyingma order. This
is the school of the ancients or the oldest Buddhist traditions of Tibet
brought to Tibet by Padmasambhave and the monks Vimalamitra and Vairochana in
the 8th Century. There are some hidden texts connected to this
tradition which, according to tradition, will be brought forth at the proper
time. The Bardo Thodol is one of these.
On the top and bottom of these lamas are a
black-hated lama (on the top), belonging to the Karmapa Kagyu, and a red-hat
lama of the Shamarpa Kagyu. The black hated lama is the “man of
Buddha-activity,” the spiritual authority of the Karmapa Kagyu and the oldest tulku lineage of Tibetan Buddhism. Tulku refers to “transformation body” or
reincarnation body; several tests are used to determine that this is the
reincarnation of a previously deceased person.
Some of these tests are shown in the movie, The Littlest Buddha. The red-hat lama or Shamarpa Kagyu belongs to
a similar school as the Karmapa, that is, direct teaching from master to
student. This school represents a special “Mahamudra” (great seal) type
meditation. This is the meditation of
emptiness and is sometimes referred to as Tibetan Zen and contains three
aspects: 1) View—insight that the timeless nature of the mind is emptiness and
luminosity. 2) Meditation—the direct,
effortless experience of the nature of the mind. 3) The action of spiritual
freedom leaving behind all convention. In other words, you realize that all is
illusion.
In the top and bottom of the right side
and top and second down on the
left, are the krodha guardian deities. Top right is Yama (yellow) and bottom right
is Hayagriva (red). The wrathful krodha
are top left, Takkiraja (white),
followed by Vajrapani (blue). On the
left, third from the top, is Mahakala
(Black Time), a guardian of the teachings. He also protects against anything
that obstructs spiritual development. On the bottom left side, green in color,
is another manifestation of Vajrapani.
Vajrapani is the embodiment of the Buddhas’ infinite power. He is green in
color and wears a tiger-skin cloth representing fearlessness. His right hand is
in a threatening mudra for overcoming hindrances. In his right he holds a vajra
(diamond-headed scepter) which, like the thunder bolt of Zeus, symbolizes
power, the enlightened power of full spiritual awakening.
The Eight Auspicious Items
In the original Thangka the eight auspicious symbols are displayed at the base of Samantabhadra (center Buddha)
and to the right and left of Vairochana.
Parasol (gdugs), a symbol of royalty and
represents the protection from evil influences provided by the compassionate
Buddhas.
The Golden Fish (gser nya), represent release from the ocean
of samsara (life and rebirth) and the ability to follow a path (swim) even
though there is a great deal of turbulence;
The Vase (bum pa), pours fourth an endless rain of
long life, health, and prosperity (of course you have to follow the rules of
the Buddha, the Buddha-Dharma).
The Lotus (pad ma), represents spiritual purity and
compassion. In Egypt the lotus symbolizes rebirth as the new born sun arises just
as the lotus opens its petals in the morning and closes them at night. The
reference here is the same in both traditions, that is, the capacity for
spiritual birth and becoming a decent human being (part of the message of
illumination).
The Right-Spiraling Conch Shell (dung g.yas ‘khyil), is blown to signal a Buddha’s
enlightenment—all are able to awaken from the sleep of ignorance, all are
Buddha consciousness. It all begins with
the right message at the right time in the right context.
The Endless Knot (dpal be’u), or lucky diagram, represents the
beginingless round of existence, the inextricable link between wisdom and
compassion (understanding), thinking with your head (logic) as opposed to your
heart (your animal nature). The endless knot is represented by the border of the thangka.
The banner of victory (rgyal mtsham), is planted on the summit of Mt.
Meru at the center of the universe, proclaiming the victory of the dharma
(laws, rules, micro-management of individual’s mind, body, and soul) over the
forces of ignorance. Individualism and ego are wiped out in this system and
that is why other mythic traditions are represented in this “whole body” art.
The Eight-Spoked Golden Wheel (khor lo), symbolizes the Buddha’s Eight-Fold Path (the Buddha-dharma). These are the rules one is to follow to reach
enlightenment.
Background and Coloring
The background for the thangka has been applied and then the coloring completed. Ratnasambhava
was colored first, and the Vidyadhara, second.
This
is one of the five transcendental Buddhas whose name means “Born of the
Jewel.” Ratnasambhava is a meditation on
arrogance. He has a ghanta (bell) in his left hand, and a triratna in the
right. The Ghanta is a Tibetan Buddhist
ritual prop representing feminine power and the wisdom to receive the word of
the Buddha. The triratna is a
Buddhist emblem symbolizing the three "jewels," (or refuges) of
Buddhism, that is the Code (Buddha), the Creed (Buddha-dharma), and the Sangha (the community of believers or Cult).
A ritual gesture is performed by crossing the ghanta and triratna over the chest, representing
union of the male and female principles. In other depictions Ratnasambhava
holds his right hand in the Varada Mudra or wish granting posture.
Amitabha, the Buddha of Infinite Light).
He works with the energy of delusional attachment and turns it to
compassion. His right hand is in the vitarkamudra
(reasoning hand gesture). His prajna is Pandaravasin, his color is red, his
mount is a peacock, and his element is fire. Amitabha is very important in
Mahayana Buddhism (Large Vehicle Buddhism in which all can ride), the central
focus around Pure Land Buddhism. Amitabha is the Lord of the Western Paradise or
Sukhavati. I suspect that, just as in
the ancient Egyptian Field of Rushes or Reeds, these were thought of as real,
geographical places. Over time, however,
they became states of awareness. In both
cases this state of consciousness is a realization that you are the light, the
illumination. Some history.
Amitabha is said to have been a king who encountered Buddhist
teachings and dropped out, became a monk, and took on the name, Dharmakara. For
the most part, illumination is something you have to work for—you have to sit
in a corner and meditate on it for several years, or cook and sauté yourself in
a Bikram Yoga class. Amitabha, however, is a little different. He determined that when he became a Buddha he
could acquire a paradise to which, through his will, all would be assigned a
lotus, in that large pond, far away to the West. You sit inside that lotus and the lotus is
open to your level of spiritual awareness (illumination) at death. With this
paradise he endeavors to stop the endless cycle of life and reincarnation. This is the simple and quick method of
reaching paradise, and all that is required is the invocation of Amitabha (Namu Amida Bustu or Namoo-mi-to-fo in Mandarin), in the simplest practice of this
tradition at least. It is particularly important
the say Namu Amida Butsu (Veneration
of the Buddha Amitabha) at the moment of death, which might be hard to do. So, you better say it and say it until it is
the first and last thing on your
mind. Amitabha Buddhism is not too
dissimilar to many Christian groups, who, through interpretation of passages in
the New Testament believe that to be saved and go to paradise all one has to do
is accept Jesus as your savior and you are in.
You bypass hell and go straight to heaven where you will be issued a
white gown, a pair of wings, and a harp.
And because there is nothing but light all around, you cannot see a
thing. But, of course you have your harp to hold on to. At least in Sukhavati
there is much to see as you look out over the lotus petals open to your level
of illumination at death.
The Four Deities on the Left***
There
are several kinds of deities represented on the left side. The First, Takkiraja (white), and second, Vajrapani (blue), are krodha
deities. The word krodha translates to “anger.” These deities represent polar
opposites and contradictions; these are angry, wrathful, but protective deities—they
drive away anger and wrath. Meditation on this contradiction leads to
transformation and a turning of one’s anger into more useful pursuits. Vajrapani is a
Bodhisattva in Mahayana Buddhism, or an enlightened being, who, although close
to nirvana, chooses instead to enlighten others and not step over until all
beings are illuminated. He is a being of
action ready and willing to take on the sufferings of others. Vajrapani
represents the energy of the enlightened mind. He is shown dancing madly within
a halo of flames, which represent transformation. He holds a vajra
(thunderbolt) in his right hand, which emphasizes the power to cut through the
darkness of delusion. Vajrapani looks wrathful, but as a representation of the
enlightened mind, he's completely free from hatred. Vajrapani means
"wielder of the thunderbolt," and a meditation on this deity helps to
gain access to the irrepressible energy that Vajrapani symbolizes. Notice that
these deities are on the margins and thus symbolize points of transition
between the tangible and spiritual universes.
Third down from the top is Mahakala
or Gonpobernaktsan (The Black-Robed one). This is Black Time or Great Time
and a representation of Shiva in his destructive character. Mahakala is also
one of the twelve great Lingas or phallic stones “Maha-kala,
Maha-kaleswara.” This was the patron deity of Ujjain,
a sacred city in India. Upon the capture of Ujjain during the reign of Alamsh,
1231 A.D., Mahakala was carried to Delhi and smashed in the name of Allah. This
form of Siva is represented with eight arms holding various objects, for
example, a human figure, skull cap with brains, heart, banner, khatvanga with
vajra-flames coming from the top, and, using an arm or two he draws the veil of
time over the sun, thus, Black Time. Mahakala is likewise chief of the Ganas
(Fates) or attendants on Siva, and his consort’s name is Kali, the destroyer goddess with her tongue
lapping up blood while she stands on her mate (Shiva) eating his guts—the
perfect marriage. Mahakala wipes the slate clean sort of like the bar-keep who
sprays disinfectant on the bar, polishes it to a mirror shine, waiting now for
the next round of customers.
The last deity
on the left is another manifestation of Vajrapani but green in color. One cannot have too many Vajrapani on your
side.
The Manushi Buddhas
A Manushi Buddha is one who has temporarily
taken the shape of a man in order to bring others to illumination. The motive
stems from compassion
for the suffering of living beings. There are six Manushi Buddhas displayed, three on the left and three on the right. These Buddhas preceded Shakyamuni and
were already in the Hinayana
texts. They are Vipasyin, Sikhi,
Vishvabhu (left), Krakucchanda, Kanakamuni, Kasyapa (right), with the seventh being
Shakyamuni (Gautama). The last four belong to our present Kalpa or world time
period.
Akshobhya (Lower left)
He holds in his right hand the Vajra or Diamond Scepter. His color is blue and his prajna is Mamaki.
His mount is the elephant. Akshobhya, who represents all encompassing
wisdom, turns one away from stupidity. A meditation on Akshobhya would be
useful meditation for certain politicians. His element is space. Akshobhya
means “Immovable;” he reigns over the eastern paradise Abhirati. As a monk
Akshobhya vowed never to feel disgust or anger towards any being. He maintained his vow—he was “immovable,” and
as such he symbolizes overcoming destructive passions and stupidity.***
Here we see (partially colored), in the center of the Tankga,
Samantabhadra (“Complete God”) in tight embrace with his consort Samantabhadri.
He is a manifestation of Adibuddha
(“One Absolute”) originally portrayed as a tongue of flame issuing from the
center of an open lotus. Adibuddha represents the idea that there is one god
who creates/manifests in many ways, and some suggest (and I think wrongly) that
this was borrowed from monotheism. In
fact Samantabhadra and Adibuddha can be seen as manifestations of Brahman that energy, that everything and
nothing happening in the same space, except there is no space. In modern science this is the singularity
that preceded the Big Bang. In the ancient
Egyptian tradition this energy is Amun.
Samantabhadra (not to be confused with a Bodhisattva of the
same name) represents the potential
for beginning. Here he sits naked in meditative posture—his legs in the lotus
position (padmasana) and hands in the
meditation mudra (dhyani)—holding the
very beautiful Samantabhadri in tight embrace. Her face is pointed upward with
lips pursed waiting but ready to move to the field of action, while
Samantabhadra looks serenely ahead contemplating without fear or desire. This is the lamb sleeping with the lion in
Christian mythology. Rest assured that
the lion will eat the lamb, but right now, nothing is happening; we are not in
the field of time.
Above Samantabhadra dance the Vidyadhara and below
is Vairochana one of the Transcendental Buddhas.
It took over
four hours to complete both Samantabhadra and Vairochana. Vairochana (white in
color representing water), the Illuminator, is in tight embrace with his
consort Lochana. Unlike Samantabhadra
Vairochana is in the field of time. When water is clear you can see with depth
and clarity, but when muddy you can only have an imagination. Anger muddies the
water and allows our imagination to often get the better of us. Vairochana
helps us see that anger is only a possibility and often muddies the water. The underlying energy, however, can be used
in positive or negative ways.
Coloring the Right Manushi Buddha, Amoghasiddhi, and Images on Right Side
These images, described
earlier, were colored on December 20, 27, and 28, 2005, respectively. Usually
there is more pain sensation when coloring because the artist has to ink in
large areas of flesh unlike outlining.
However, my experience is that there is more pain sensation left of the
spinal column than on the right. The
pain, however, can be eliminated or at the very least moderated by relaxing
into the pain. That is to say, by
relaxing all muscles, the pain changes in intensity (see Rush - Spiritual Tattoo,
2005).
Beginning the Background (January 3, 2006)
Coloring the background took some time to
complete. The background around Ratnasambhava (left corner) was completed first. During this process Kim touched up parts of
Ratnasambhava where the ink didn’t “take” (see Rush - Spiritual Tattoo, page
130, for technical reasons why this happens).
Background finished (March 16, 2006)
The border (Right Border) was also completed on March 16; finishing the border will
take another session. Tattooing will now
proceed to the front piece, which will look like a patch-work quilt with each
square depicting a major mythological theme from various areas of the
world. A discussion of the Bardo Thodol
is also found in The Twelve Gates
(2007), by John A. Rush.
