1 Bhubaneswar circle Indira Gandhi National Centre for the Arts IGNCA Kumārajīva, Philosopher and Seer 1 ASI IGNCA ASI IGNCA Gotam Sen Gup

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1 1 Bhubaneswar circle Indira Gandhi National Centre for the Arts IGNCA Kumārajīva, Philosopher and Seer 1 ASI IGNCA ASI IGNCA Gotam Sen Gupta Superintendent archaeologist 52 (399)

東洋文化研究所紀要第 170 册 2 2 8 Gotam Sen Gupta Gupta チュンダー ( 准提 ) Cundā, Arrangement of Deities B. 転輪王 Uṣṇīṣa- Cakravartin A.

2 東洋文化研究所紀要第 170 册 Gotam Sen Gupta Gupta チュンダー ( 准提 ) Cundā, Arrangement of Deities B. 転輪王 Uṣṇīṣa- Cakravartin A. 金剛界大日如来 Vajradhātu- Vairocana C. 不動尊 Acala D. 観自在 Avalokiteśvara チュンダー E. 不空羂索 Amoghapāśa Cundā F. 金剛手 Vajrapāṇi H. 金剛有爪 Vajranakha G. 一髻羅刹 Ekajaṭā ASI 51 (400)

3 ASI ASI Rakesh Tewari File no. 7/1/2016-PH 2 Cundī Cunde Cunde Cundā namaḥ saptānāṃ samyaksaṃbuddhakoṭīnāṃ 3 50 (401)

4 東洋文化研究所紀要第 170 册 (402)

5 A H A B C D E 5 3 F 48 (403)

6 東洋文化研究所紀要第 170 册 G Khadiravaṇī-tārā Ekajaṭā 6 H 8 4 No No No Oṃ cale cule cuṃde svāhā 8 47 (404)

7 9 吒 1 1 Cuṃ cuṃ gi yi ge las bsgrubs pa/ miṅ ni skul byed ces ma i gzugs/ sku gsum rgyal ba bye ba phrag/ mdun sic gyis gsaṅ sṅags glu yis bstod// yi ge dgu ba thabs dgu can/ lha dgu rnams kyi gnas kyaṅ yin/ 12 No.3336 Oṃ rnam par snaṅ mdzad Ca khor los sgyur ba Le mi g-yo ba Cu gtsug na nor bu oṃ rnam par snaṅ mdzad. ca khor los sgyur ba. le mi g-yo ba. cu gtsug na nor bu. le don yod pa i ags pa. cuṃ skul byed ma de rdo rje chaṅ ba. svā 吒 ral pa gcig ma. hā rdo rje sen mo can. 46 (405)

8 東洋文化研究所紀要第 170 册 Le don yod pa i ags pa Cuṃ skul byed ma De rdo rje chaṅ ba Svā ral pa gcig ma Hā rdo rje sen mo can 13 1 Oṃ Cu Svā 吒 Ekajaṭā Hā Vajranakha 5 A B uṣṇīṣa B 45 (406)

9 C C D 18 E 㡧 19 Le 20 E F G 吒 G 44 (407)

10 東洋文化研究所紀要第 170 册 H 21 G 6 Oṃ cule cule cunde svāhā (408)

11 C 15K IGNCA proceedings 1 No pp (409)

12 東洋文化研究所紀要第 170 册 2 No Vol.20, 685c. Vol.20, 690b-c. 10 thabs dgu navarasa 11 Vol.18, 565a. 12 No.102, Vol Vol.20, 678b. 15 Vol.20, 689c Vol.20, 678b. 18 Vol.20, 689c. 19 Vol.20, 685a. 20 Vol.20, 689c. 21 Vol.20, 678c. 22 Vol.20, 678c p (410)

13 The Image of Cundā, which has a maṇḍala-like composition, from Orissa by Kimiaki Ta n a k a In the storage of the Bhubaneswar Circle of ASI, an interesting image of four armed Cundā is kept (see figure). Around the main deity, eight attendants are arranged. After iconographic analysis, I noticed that Cundā and the eight attendants are the deification of the nine-syllabled mantra of Cundā: Oṃ cale cule cuṃde svāhā. The correspondence is explained in the Fo-shuo-chi-ming-zang-yujia-da-jiao-zun-na-pu-sa-da-ming-cheng-jiu-yi-gui-jing (Taisho no. 1169), the Sanskrit original and corresponding T ibetan translation of which is not known, and in the Māyājāla-tantra (samādhipaṭala). However, in the latter, the name of the attendants corresponding to each syllable are not given. For the details, we must refer to Ānandagarbha s commentary on the latter (Peking no. 3336). It is noteworthy that both texts were tranlated into Chinese during the Northern Song dynasty by the same translator, Fa-xian. Above the main deity (A) is Vairocana, corresponding to the first syllable Oṃ. To the left of Vairocana (B) is Cakravartin corresponding to Ca. To the right of Vairocana (C) is Acala corresponding to Le. To the left of the main deity (D) is Avalokiteśvara or Cūḍamaṇi corresponding to Cu. To the right of the main deity (E) is Amoghapāśa corresponding to Le. The main deity is Cundā cor responding to Cuṃ. At the bottom left is Vajrapāṅi (F) cor responding to De. At the bottom right (G) is Ekajaṭā corresponding to Svā. At the botttom centre (H) is Vajranakha corresponding to Hā. The aforementioned ritual manual of Cundā in Chinese explains singleheaded eighteen-armed type of Cundā whereas the Māyājāla explains three- iii

14 headed twenty-six-armed style. However, in the image in question, Cundā is represented in her most common iconography in India: the single-headed four armed style. For details reference should be made to the accompanying chart and tables on pp iv

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untitled Copyright - Zac Poonen (1999) This book has been copyrighted to prevent misuse. It should not be reprinted or translated without written permission from the author. Permission is however given for any