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.

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

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.

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

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.

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.

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 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.