The Adi Buddha and his Five Celestial Buddhas
Introducing the Five Dhyani Buddhas of the Tibetan Buddhist Pantheon
Oct 22, 2009
These Celestial Buddha statues are commonly referred to as the “Dhyani” Buddhas because they are normally portrayed in classical poses of attentive meditation or “Dhyan” (the Sanskrit/Hindi word for "meditation.")
However, in a more formal sense, these Buddha images are referred to as the five “Jinas.” The word “Jina” in Sanskrit means "a conqueror." In the Buddhist spiritual context, “Jina” implies a person who has conquered the perils of some specific emotional “rooting” affliction like rage, and has moved on spiritually to a higher state of awareness that frees him/her from his/her attachments and their concomitant sufferings.
Combining the descriptive implications of “Dhyani” and “Jina,” therefore, points to these Buddha images serving as meditative pathways to attaining certain spiritual goals by the conquest of particular spiritually afflictive conditions.
Although symbolising different attributes of the Adi Buddha, all five Buddhas have strong individual characteristics of their own and serve, in turn, as the source of emanations of their own Bodhisattvas (active perfect beings that delay their own enlightenment for the sake of helping other beings who are lesser endowed spiritually to attain it).
Individual Characteristics of the Dhyani Buddhas in Tibetan Buddhism
To maintain brevity, the characteristics of the five Buddhas have been limited to just five of the most important distinguishing features, namely the “Mudra” ( ritualistic hand gesture/position of hands with the Buddha seated cross-legged in the ‘lotus” meditative pose), the cosmic direction which the particular Buddha symbolizes and in which his metaphorical paradise is located, the “Chakra” (a specific center of concentrated energy in the human body) associated with the Buddha, the colour in which the Buddha is visualized during meditation and the specific spiritual goal that the Buddha helps individuals to attain on meditation upon him.
Amitabha Buddha
Amitabha Buddha is also known as Amitayus, “the Buddha of Infinite Life” and Amida in Japanese. Here are some basic facts about Amitabha Buddha:
- Mudra – “Dhyan,” the right palm resting upon the left palm, both facing upwards and held at the level of the stomach or on the folded thighs, the thumbs touching at the tips and thus forming a triangle. As Amitabha, the hands normally have a begging bowl placed on them. As Amitayus, the hands hold an urn containing the nectar of eternal life.
- Cosmic direction – West, the “Sukhavati” Paradise (in Tibetan called Dewachen).
- Chakra – Throat
- Colour – Red
- Spiritual goal – Purification of the attachments of lust and desire (addictions); attainment of spiritual awakening.
Akshobhya Buddha
Akshobhya Buddha is also known as Mitrugpa and is most closely representative of the historical Buddha. Some basic facts about Akshobhya Buddha include:
- Mudra – “Bhumisparsa,” which means literally “touching of the earth.” Here, the Buddha’s right hand is resting just above his right knee, with the tips of his fingers lightly touching the earth, palm turned inwards, and his left hand resting, palm upwards, on the hollow of his crossed legs, sometimes holding a begging bowl. This gesture denotes calling upon the earth to witness the Buddha’s unshakeable determination to overcome afflictive temptations.
- Cosmic direction – East, the “Abhirati” Paradise.
- Chakra – Heart
- Colour – Blue
- Spiritual goal – To conquer the aggressive temptations that arise out of hate, anger and aversion; awakening of the heart.
Vairochana Buddha
The Vairochana Buddha is associated with the following attributes:
- Mudra – “Dharmachakra,” which means literally “turning of the Wheel of Dharma”. Both hands are held in front of the chest, with the tip of the forefinger of each hand touching the tip of the thumb, forming a circle. The right palm faces outwards while the left palm faces inwards. This Mudra is symbolical of the Buddha as the benevolent Teacher-King of the “Dharma” (meaning the Law or broadly, the correct moral stand).
- Cosmic direction – Zenith, implying kingship and being above the four terrestrial directions of north, east, south and west.
- Chakra – Crown of the head.
- Colour – White
- Spiritual goal – To overcome ignorance and prejudices; attain supreme detachment and impartiality.
Ratnasambhava Buddha
The Ratnasambhava Buddha is associated with the following attributes:
- Mudra – “Varada.” The right hand is resting on the right knee, fingers almost touching the ground with palm facing outwards; the left hand rests on the lap, palm facing upwards or with a begging bowl. This gesture symbolizes generosity and a willingness to share.
- Cosmic direction – South
- Chakra – Navel
- Colour – Yellow
- Spiritual goal – To overcome greed and miserliness; attain generosity and spiritual equanimity.
Amoghasiddhi Buddha
The Amoghasiddhi Buddha is associated with the following attributes:
- Mudra – “Abhaya.” The right hand is held upright, with the palm facing outwards. The left hand rests on the lap, facing upwards, often with a begging bowl. This gesture is one of discussion and fearless argument, emanating a strong “yang” energy.
- Cosmic direction – North
- Chakra – Base
- Colour – Green
- Spiritual goal – To overcome jealousy and envy; attain fearlessness of thought and spirit.
What is significant and startling about the iconographic representations of the Dhyani Buddhas are their total relevance to the attainment of specific spiritual goals. These goals are specific and the journey is specific. There are no general paths to Heaven or Hell, which every one can follow. In the alter of the Dhyani Buddhas, there are only individualistic paths to one’s inner Buddha.
Readers of this article may also enjoy reading about Buddhas, Bodhisattvas and Artifacts.
Sources:
- Frédéric, Louis. Buddhism: Flammarion Iconographic Guides. Paris: Flammarion, 1995.
- Too, Lillian. The Buddha Book: Buddhas, Blessings, Prayers and Rituals to Grant You Love, Wisdom and Healing. London: Element, 2003.
- Willis, Michael. Tibet: Life, Myth and Art. Singapore: Duncan Baird Publishers, 1999.
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