Mahākāla. (T. Nag po chen po; C. Daheitian; J. Daikokuten; K. Taehŭkch’ŏn 大黑天).

In Sanskrit, the “Great Black One”; one of the most important wrathful deities of tantric Buddhism.

He is a Dharmapāla or “protector of the dharma,” of the Lokottara or “supramundane” variety; that is, one regarded as
the manifestation of a buddha or bodhisattva. He is said to be the wrathful manifestation of Avalokiteśvara, the
bodhisattva of compassion.

In the form of Avalokiteśvara with a thousand arms and eleven heads (see Sāhasrabhujasāhasranetrāvalokiteśvara),
the top head is that of Mahākāla. He has many aspects, including two-, four-, and six-armed forms, and appears in
several colors, the most famous being black and white.

He wears a crown of five skulls, symbolizing the transmutation of the five afflictions (Kleśa) into the five wisdoms
(Pañcajñāna) of a buddha. One of his most popular forms in Tibet is as Pañjaranātha or “Protector of the Pavilion.”

In this form, which derives from the Vajrapañjaratantra, he is the protector of the Hevajra Tantra cycle.

Here is depicted as a dwarf-like figure, holding a wooden staff across his arms.

In Japan, where he is known as Daikokuten, Mahākāla is a less frightening figure and is one of the “seven gods of
good fortune” (Shichifukujin), extolled as a god of wealth and a god of the household.

-========================

Interpreting the Symbolism

Khenpo Karthar reminds us ("Relating to the Mahakala Practice," Densal:

"Mahakala is seen standing on the corpse of two human bodies, thus symbolizing the death of negativities and the
complete uprooting of negative patterns to such a point that, like a dead body, they will not come to life.

It is very important that we know these symbols of Mahakala because many times we have mistaken notions that he
may be a clinging spirit or harmful, evil being, perhaps even the Lord of Death ready to devour and attack. One would
find great difficulty in relating to the various symbols without understanding that our awakened compassion is the
essential quality of the being of Mahakala.

Mahakala has never been known to harm one being, even in the slightest manner, because he is constantly
benefiting beings through the continuous play of the enlightened mind."

Mahakala is a Protector of all Tibetan Buddhism

The form varies according to the different teaching lineages.

For example, there is the two-armed, big-mouthed Mahakala Bernakchen of the Karma Kagyu, the four-armed
Mahakala who is protector of the Drikung Kagyu, and six-armed Mahakala of the Gelugpas described below.

They are not all wrathful forms of Chenresi [Skt.: Avalokiteshvara) although

"There is an emanation of Avalokiteshvara which arose in the form of Mahakala and this is the Shangpa Kagyu
Mahakala with one face and six arms, in a standing posture.

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 form was later adopted by Tsongkhapa and followers as the main protector of the Gelugpa School.

Mahakalas can arise from various sources namely Vajradhara and the Anuttarayoga Tantras but are not generically
Avalokiteshvara."

~ Jeff Watt, Himalayan Art

There is a white one associated with prosperity, and also a eunuch and some feminine forms, but it is incorrectly held
that there are 75 variants.

" . . . the different Mahakalas with various number of arms are not all the same.

The Six-Armed version is the emanation of Chenrezig (in association with the head-blowing-up episode) and was
originally the specialty of Shangpa Kagyu, but has now been adopted all over;

one of the Four-Armed versions is an emanation of C[h]akrasamvara and the main protector of Karma Kagyu; the
two-armed Bernakchen, an emanation of Samantabhadra, is actually not the main protector of Karma Kagyu, but rather
that of the Karmapas specifically, although there is nothing that says the rest of us cannot also practice on him; the
Sakyapa has the two-armed Panjaranatha Mahakala, who probably is an emanation of Manjushri and holds the rod that
emanate[s] many Mahakalas.

Like many of the other protectors, one pair[s] up with any one of these Mahakalas as appropriate to their cycle of
practice; in other words, one doesn't just pick up a Mahakala out of the blue."

~ BB to the Kagyu email list, June 2002.

Ritual Practice

Students do not generally do practices associated with dharmapalas such as Mahakala until they have completed the
Preliminary or Foundation Practices and of course, after receiving the empowerment to do so.

The Sanskrit descriptive name, Mahakala (Great Time or Great Dark One) is also used to refer to Lord Shiva, the
Hindu god whose tandava dance sustains, but can also destroy, the universe of appearances, and who is associated with
Time, another meaning of kala.

The teaching known as the Kala-chakra or Wheel of Time, is a Buddhist tantric system thought of as the key to reality
that unites the universe, time and the breath of life.]

Lama C. Reed says that in the liturgy known as Kha Yig Ma, which is the KTD daily practice, a short (3-page)
Chagdrupa is performed incorporating the visualization, torma offering and mantra recitation.

A mid-length, "Tsendring" Mahakala practice is done on the 29th lunar day in KTD's 3-year retreat, and in the
afternoon of the first day of the yearly Mahakala drupchen, KTD uses the same brief Chagdrupa liturgy, and that this
is one is also a part of the Gyespa (extensive) Mahakala ritual.

At KTD, each of the 3 days of Mahakala Drupchen begin with the Dorje Phagmo self-visualization liturgy followed by
the recitation of the Gyespa text, which broadly speaking, is a collection of short visualization/torma offering liturgies
and mantras of the central Kamtsang protectors, Bernagchen and consort.

Mahakala Bernakchen

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 Kubilai Khan succeeded his Buddhist brother Munga, and fearful of the influence of Karma Pakshi, the second
Karmapa, had him confined to the Chinese Imperial Palace where he was tied by his beard (among other terrible
ordeals.)

Karmapa prayed to Mahakala Bernagchen, but "Great Black Cloak" took so long putting on his boots, that by the time
he got there, the ordeal had ended.

However, as he had been summoned, he was obliged by rules of combat to cleave something with the hook-knife that
he held at the ready.

The Karmapa therefore had him strike the palace. As a result, there is still a gash somewhere in the Imperial Palace.

There is a version saying the Karmapa struck Mahakala for his tardiness, giving him his swollen face! Consequently,
no subsequent Karmapa has ever worn a beard.

Origin of Mahakala

The compassion of the red Buddha Amitabha manifested as Avalokiteshvara who took a vow to forgo his own
enlightenment until all the realms of samsara had been emptied.

This vow required a renewal of determination, and so with Amitabha's blessing, Avalokiteshvara next assumed a form
with eleven heads and a thousand arms. Still he had been unable to benefit even a few beings.

Therefore after reflecting for one whole week, he determined that by assuming a wrathful form he would be able "to
subdue the degenerate beings of this Age of Darkness."

Also he saw that even beings who practiced Dharma were unable to escape from the Bardo realms (time between
rebirths where beings may face great anxiety and terrifying experiences) and he thought that in wrathful form he could
also protect them in that way.

And lastly, he thought that the beings in this Dark Age were poor and needy, experiencing only suffering after
suffering, and that in wrathful form he could provide them an antidote to that suffering so that by simply making the
wish (for protection) their needs could be met.

These three motives made his determination even greater than before and so from the heart of Noble Avalokiteshvara
emerged a dark blue HUNG syllable that immediately became the Instantaneous Protector of Wisdom, Mahakala.

The foundations of all the Pure Lands shook with six kinds of earthquakes, and the Conquering and Transcending One
of Immeasurable Light (Amitabha) and all the other Tathagatas of the ten directions proclaimed with one voice:

"Son of the family, it is well that you have made this resolution. You shall have the empowerment of all the wisdom
dakinis.

You shall have the strength of the wrathful Yama, Lord of Death. You shall have the mountain spirits, the yakshas, the
devils and the demonesses as your messengers.

You shall embody the great wrathful empowerments of the Body, Speech, Mind, Qualities and Activity of all the
Buddhas throughout the three times."

Ever since, bodhisattva Mahakala is the Dharma (Buddha's Doctrine) Protector of all Buddha fields.

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 Om, Shri Mahakala Yaksha Betli, hung dsa.

Symbolism of Mahakala in the 6-armed Manifestation:

The Protector's body is midnight blue, symbolic of the changeless Dharmakaya.

His three eyes symbolize his knowledge of the past, present and future, and also the manifestation of the three bodies
of Buddha.

The crown adorned with five skulls symbolizes the transformation of the five poisons of anger, desire, ignorance,
jealousy and pride into the five wisdoms.

His six arms symbolize the attainment of the six Perfections:

generosity, patience, morality, diligence, meditation and wisdom.

The kartika or triku [or trigu, pron. tigu) the ritual curved knife, cuts attachment to ego.

The kapila or skull bowl filled with blood symbolizes the subjugation of the maras or evil ones. (An alternate
interpretation can be found in other contexts.)

The rosary symbolizes his continuous activity for the benefit of beings.

The damaru or hand-drum symbolizes his power over the dakinis. (Also, different interpretations in other contexts.)

His trident symbolizes his power over the three kayas -- the spheres of desire, form and formlessness. (An alternate
interpretation can also be found.)

The lasso binds those who break their vows.

His two feet are the means and the wisdom to accomplish his task. That his left leg is straight and his right leg bent
symbolize his accomplishment of the benefit to oneself and to others. He tramples on a vinayaka, to symbolize his
destruction and dispersal of great obstacles.

The sun on which he stands symbolizes his illumination of the darkness of ignorance.

His lotus seat symbolizes purity undefiled by samsara.

The surrounding blazing fire symbolizes his activity that consumes neurotic states.

The tiger skin stands for purification of desire; the elephant skin for purification of pride, and the snake, for the
purification of anger.

His other ornaments together symbolize that he has all the qualities of a Buddha.

The material about the symbolism of 6-armed Mahakala derives from a Gelugpa sadhana (ritual) of Tara that includes
an offering to Mahakala. The whole was produced in Jan. 1994 by Dharma Therapy Trust under Ven.

================================

By Tom Suchan and Chaya Chandrasekhar

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 8 June, 1998

Mahakala is the fierce manifestation of Avalokiteshvara, the Bodhisattva of absolute compassion, and the primary
Dharmapala, or "Dharma protector" in Tibetan Buddhism. Mahakala's name translates as the "Great Black," one, or
"Great time."

The latter is a reference to the deity's ability to transcend all time. More than seventy-five forms of Mahakala are
known in Tibet where he is generally called mGon po, or the "Master," "Lord," or "Protector."

Mahakala is characteristically depicted with an angry face, pot-bellied, and standing on a human corpse or the
elephant-headed, Hindu god, Ganesha, who, in this case, signifies hindrances.

He is dark, often black or blue in color, although the color may vary depending on the specific form being represented.

In the SAMA collection, a red Mahakala, associated with the intermediary southwest direction, is depicted in #97.085,
a portrait of Bromdon.

Sita, or white Mahakala is seen as a subsidiary figure in #93.014, a large painting of he protector, Gur-gyi Mgon Po.

In each of his two, four, six or sixteen hands, Mahakala holds the kapala and katrika, a trident, mala, or prayer beads, a
noose, the heart of a vanquished enemy, a damaru, or kettle drum, sword, khatvanga and so on.

His primary attributes are the kapala, or skull cup, and the katrika, or chopper.

The skull cup and its contents represent the five sense offerings, while the chopper represents detachment from
samsaric existence.

Mahakala in his six-armed form, trampling Ganesha, is the central figure in the SAMA painting, #97.082.

In his upper left and right hands he holds the severed skin of an elephant, symbolizing the ability to overcome
delusion.

Along with the elephant skin, he holds prayer beads and a trident in his upper right and left hands respectively.

his lower right hand he holds the heart of an enemy who hinders religious attainment.

In his lower left hand he holds a noose. The katrika and kapala are held in each of his primary hands.

He is wears a garland of freshly severed heads around his body while a green snake, tied across his shoulder and body,
serves as the sacred thread.

A blue Buddha figure, making bhumisparsha, or earth-touching gesture, is depicted in the center of Mahkala's
elaborate hair arrangement.

This figure is probably the Buddha Shakyamuni or, the jina Buddha Akshobhya.

In the top center is a representation of the Adi Buddha, Vajradhara, the progenitor of all the figures in the painting.

Two Mahasiddha-type figures flank Vajradhara. Other figures along the top row include various teachers.

Two Buddha figures are depicted directly below the teachers in the top left and right corners of the painting.

The Buddha on the left is white and makes the Dharmachakra, or teaching, gesture.

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 The damaged condition of the painting obscures the proper identification of the Buddha on the right.

Manjushri, the Buddha or Bodhisattva of absolute wisdom, is depicted on the left, within the flames that surround
Mahakala.

On the right is the Buddha Amitayus, seated in the meditation posture, while holding the vase of life.

Four figures, probably belonging to Mahakala's retinue, are shown on either side of Mahakala.

The two figures on the left stand on human corpses and hold various attributes.

The figures on the right ride on animal mounts. The top right figure may be Mahakala's primary attendant, Dugon
Trakshad, who rides on a black horse.

Dugon Trakshad generally carries a flaming sword in his right hand and a skull cup in his left. In the SAMA painting,
however, the figure on the black horse holds a kapala in his left hand and a banner trident in his right.

The lower right figure, riding on a mule-like animal is probably Palden Lhamo, the female attendant of Mahakala.

In each of her four hands she holds a sword, a trident and the skull-cup and chopper.

The figure in the bottom center is possibly Kshetrapala, who frequently attends to Mahakala.

He is known to ride on a black bear while holding a vajra chopper and skull cup.

However, the sketchy representation of the animal mount in the SAMA painting does not allow a definite attribution.

Along the bottom of the painting, on either side of the lower central figure, are representations of the guardians of the
ten directions, each on his specific animal mount.

Included in this group, and easily identifiable, are Indra on the upper left, Nairiti on a human corpse and Varuna on the
crocodile to the lower central figure's immediate right.

A Multi-headed figure of Brahma is depicted on the far right side of the painting.

figure holding a trident and skull cup, wearing a long skirt, is depicted above the image of Indra on the left.

This may be the goddess, Ekajathi, often considered a member of Mahakala's retinue.

In the corresponding position on the right is a bull-headed figure, probably Yama, on a bull.

This painting is indicative of the Tibetan folk style. Works by artists not trained in a specific school of painting
generally constitute the folk painting tradition in Tibet.

Although whimsical in appearance, this painting makes for a powerful representation of the deity.

In contrast to the folk tradition, #93.010, a second painting of the six-armed Mahakala in the SAMA collection, is a
typical example of the classical style of Tibetan painting. Characterized by finely rendered figures, elegant refinement
and evident vivacity, the classical style was common in Central Tibet, a region close to the main religious centers.

Mahakala is here represented in the center as a paired-deity, in union with his female counterpart.

He has three heads, and six arms. In his upper right and left hands he holds a sword and elephant goad respectively.

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 In his lower right hand he holds a danda, or staff and in his lower left hand he holds a noose. In his primary hands he
holds a katrika and kapala while supporting his female counterpart who is light blue in color.

She holds a kapala in her left hand and probably a katrika in her right hand which is held behind the male figure.

The attributes differ from the normal set of six discussed above suggesting that this figure is a specific form of the
deity that is not identified in common published literature.

In the top center is a representation of Vajrasattva in union with his female counterpart, Sattvavajri.

He is the practitioner who envisions all the other deities in the mandala. Directly below him is Manjushri with a raised
sword in his right hand.

To his top right is an image of a seated Buddha making abhaya, or fear not, gesture.

To Manjushri's upper left is a representation of Padmasambhava, indicating that this painting probably belonged to the
Nyingma order.

Figures of lineage teachers and great masters are represented in the top row of the painting.

In the bottom center, directly below the main image, is a representation of a two-armed Mahakala accompanied by a
gray hag-like female figure.

Mahakala holds a vajra-chopper in his raised right hand and a kapala in his left.

The female figure holds a kapala in her left hand and a trident in her right. Although male and female, the two are not
a paired deity as they are not in sexual union and are depicted in a similar manner to Yama and his sister Yamari.

A total of twenty-two other figures accompany the central paired-deity.

They appear to be male and female members of Mahakala's retinue.

All are depicted as energetic, fierce figures, some with animal heads.

Their animated pose and dynamic colors help manifest the idea that Mahakala is the energetic compassionate aspect of
enlightenment waiting to be realized within every practitioner.

As in the two Mahakala images discussed above, the skull-cup and chopper are generally the primary attributes of the
deity.

However, several forms of Mahakala do not carry the skull-cup and chopper and are, instead, identified by various
other attributes and characteristics. Two such forms of Mahakala included in the SAMA collection are #95.012 and
#93.017.

Mahapandaka Karma (#95.012) is the Genderless, or Eunuch, Mahakala who is commonly venerated by the Nyingma
sect.

Mahapandaka Karma holds a lance or banner to the sky in his right hand, and a tulip-shaped heart and kidneys of a
vanquished enemy in his left. His name alludes to the enlightened state which transcends gender and all levels of self-
identity and attachment.

The Adi Buddha Samantabhadra is depicted directly above the main figure.

Vajrasattva is represented on the proper right side of Samantabhadra and the Bodhisattva Maitreya is shown seated in a

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 relaxed posture on the proper left side.

Seven other forms of Mahakala are depicted around Mahapandaka Karma.

Although inscribed, the illegible condition of the script prevents positive identification of each of these figures.

The crow-faced Mahakala, known in Tibet as Mgon Po Bya rog Dong, is depicted in the lower left corner of the
painting.

He is shown seated on a horse holding a bow and arrow in his hands. Mgon Po Tag Shon Ma, the two-armed
Mahakala who rides a tiger is depicted in the lower right corner of the painting.

The second of the more uncommon forms of Mahakala represented in the SAMA collection is #93.017 . The black-
cloaked Mahakala, known in Tibet as Ber nag Mgon Po, wears the robe of a necromancer on his back.

He raises a skull cup to his mouth with his left hand, while brandishing a phur-pa in his right.

The phur-pa, literally translated as "ritual tent stake," is a ceremonial implement used to pin down and transform evil
and negative forces.

The four-armed Shadakshari Avalokiteshvara, the spiritual source of Mahakala, is depicted directly above Ber nag
Mgon Po.

To his right is the Buddha Shakyamuni who makes the bhumisparsha, or earth-touching, gesture with his right hand.
Padmasambhava who is the Buddhist necromancer par excellence, is depicted on the left.

In Tibet, Padmasambhava is renowned for his ability to suppress and convert evil spirits who hinder Buddhist religious
attainment.

On either side of the main figure are two skull cups with torma and sense offerings.

Below the main figure are three other forms of Mahakala. In the center is a fierce red colored form of the deity who
holds a banner and a skull cup in his hands.

The figures on the right and left, each hold a phur-pa and a skull cup in the same manner as the Ber nag Mgon Po.

They probably serve as Ber nag Mgon Po's acolytes who aid the devotee along his or her religious path.
References

Ladrang kalsang. The Guardian Deities of Tibet. Dharmasala: Little Lhasa Publications, 1996.

Nebesky-Wojkowitz, Rene de. Oracales and Demons of Tibet. Reprint. Graz, Austria: Akademische Druck-u.
Verlagsanstalt, 1975.

Rhie, Marylin and Robert A.F. Thurman.Wisdom and Compassion. New York: Harry N. Abrams, Inc., Publishers,
1991.

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