Avalokiteshvara

Forceful Segregation Tanghka: Iconography of the शक्ति विचिनोति tanghka

Name:

Forceful Segregation Tanghka (Skt. translit: zakti vicinoti) 

The significance of the name has to do with the main theme of the tanghka. The Sanskrit word zakti speaks to power inherent is things, ability and powerful potential. It is sometimes used to indicate female genitals, in this sense more particularly the inherent potential of the soul to metamorphose and ‘give’ birth to the spirit within.

The word vicinoti speaks to the heart of Wayism; it says inspect, investigate, separate, single out, and most importantly, segregate.

While there are different levels of meaning in these words that teachers impart to students, the exoteric meaning here is that the Lord takes a powerful interest in each individual person’s heart and walk on the Path. He picks us out individually, and works with us, imbues us with empowerments. It is a distinctive feature of Wayism that the Lord works for all sentient beings, all the time. This tanghka however has the theme of the Lord’s particular interest in the individual devotee, nothing to do with other people around you; this is between you and the Lord.

Artist

Manoj Bhargav

Main Theme

Each tanghka tells a different story. Tanghkas are designed as symbols to things otherworldly, and to act as guides in our meditations.

Forceful Segregation tanghka has as theme and main lesson, the devotee’s personal, existential path and walk on the Way toward liberation from samsara and enlightenment.

We see the theme repeat in many different aspects of the tanghka, from ornaments, to the Bodhisattva’s earrings, markings, colours, and more. The devotee of this tantra learns from his/her teacher about the significance of each element and make use of those in the spiritual quest.

We will make passing remarks on some of the elements present in this tanghka that relate to the main theme.

Main subject

The main figure is Bodhisattva Avalokitesvara with Buddha Amitābha on top, and Mrgadrzaka Mandala below.

Setting

Bodhisattva floats, seated on a pastel-pink to subtle peach coloured lotus, between heaven and earth. Earth is symbolized by mountains and heaven by clods with the Father of Heaven center top. A range of blue hues are used for all of the elements in the background.

Border

The tanghka has a border in royal colour with subtle pink/peach rectangular patterns, and pastel orange and blue lotus flower patterns inter-weaved. Bodhisattva Avalokitesvara’s mantra is repeated in Devanagari script all along the border.

Distinctive Elements of Main Figure

Male and Female Features

In this tanghka, Bodhisattva Avalokitesvara displays both male and female attributes.

The mouth is feminine and sensual. Body shape hints at feminine hips and lower abdomen, male-like shoulders, one muscular arm another less so. The left chest area hints at a female breast while the right seems male. Bodhisattva Avalokitesvara is not androgynous, he is both male and female and will manifest in any manner most acceptable to the devotee’s mind. Bodhisattva Avalokitesvara appears to people as Jesus, Goddess, QuanYin, Shiva, Tara, Krishna, Christ, angels, apsara, and whatever other form will be most acceptable to the person.

Mahāpuruṣa Signs

Typical of the Wayist tradition Bodhisattva Avalokitesvara exhibits signs considered to be mahopurusha,which are not necessarily agreed to by main stream Buddhism or Tibetan Buddhism. Among these are blue eyes, large ears but not the typically stretched ear lobes of Buddhism [from wearing heavy gold earrings]. The ushnisha is present on top of the head but is always covered with hair. Bodhisattva Avalokitesvara typically displays long black hair, often taken tied up at the back of the head, sometimes showing around the shoulders as in this tanghka.

 Here, Avalokitesvara wears jade earrings; the significance of which is part of the main theme of the tanghka—the devotee’s self-realization.

The urna (in the brow) decoration of this tanghka shows that the Bodhisattva, insofar as the main theme is concerned, reminds the devotee of Wayism’s affinity with the Vaishnava tradition. There were changes in the 1^stcentury that affected Buddhism and Vaisnava alike, causing three great rivers to flow in the same direction, often sharing subsidiaries and tributaries. Wayism is quick to acknowledge that because it is important for humankind. The urna shown here is particularly interesting because it point to the Gaudiya school of Vaishnavism more so than other. One of the reasons for this identification is Gaudiya’s focus on mantra offerings in bhakti rather than sacrificial fires, a matter that the Lord has been concerned with even during His earthly ministry as Iesous / Yesu. Additionally, Lord Krishna can be approached through the vehicle of this tanghka. Presence of the urna is of course to signify that the Lord sees beyond this world and has insight into our very intimate selves. Another aspect of this urna is the combination of ruby and anchor. Space does not permit to discuss every detail but your teacher can explain the deep significance of this.

Both Hands Mudra

It is exceptional to have both hands showing the same single handed mudra. Bodhisattva Avalokitesvara’s hands are in the sochi tarjani (flaming or glowing forefinger) mudra. This mudra is infrequently used in tanghka. It is therefore highly significant here.
Sochi tarjani has two parts:
1) it is a scolding finger pointing to the evil that is aiming at the devotee, keeping it at bay.
2) it is the finger of segregation, the Lord point at you, personally, calling you out from the crowd to come and do what you know has to be done.

Water Flask

The ceremonial water sprinkling flask in Bodhisattva Avalokitesvara’s left hand is used to cool (calm) devotees when the quest on the Path gets a bit much from time to time, when troubles along the Way get to their hearts and upset their body-minds. The water is for clarity, clearing of troubled thoughts, clearing of fogged minds and for deeper more meaningful meditations.

Vajra

The meaning and uses of vajra are multiple. Suffice it to say that the main meaning here is the symbolic significance of the power of the Lord to dispel Maya and bestow enlightenment. Many devotees are only ready for brief moments of that supreme sight and delight, but the Lord has called you out, personally, and is working with you as an individual.  Read more about the symbolic meaning of vajra in this tantra path.

मृगव्याध Mrgavyadha

Sirius, our final destination features on the forehead and on the Lord’s mala beads.