Interpreting Manjushri Namasangiti

Interpreting Manjushri Namasangiti

Namasangiti is considered amongst the most advanced given by the . It represents the pinnacle of all ’s teachings, being a of the nondual class, along with the Tantra.

The Viability of Manjushri Namasangiti

In this section, we are going to learn about the viability of Manjushri Namasangiti. And after that, we will learn about the short etymological description of the word Manjushri Namasangiti itself.

Etymology of Manjushri Namasangiti

Manjushri Namasangiti is known as jam pal Tsan chu in .  Namasamgiti is that Manjushri is known as the embodiment of all . Manjushri Namasangiti is a line that is drawing with an iconometric measuring grid underlay.

Earlier, we learn about the viability of the Manjushri Namasangiti. Now we are going to learn about the of the Manjushri Namasangiti.

Iconography of Manjushri Namasangiti

In the iconography of the Manjushri Namasangiti, we are going to learn about her posture, hand, and leg gesture and different representation of Manjushri Namasangiti in and statue.

Posture of Manjushri Namasangiti

In the appearance, Manjushri Namasangiti is a bodhisattva. Manjushri Namasangiti has one face and four hands. The first right hand of Manjushri Namasangiti holds upraised a flaming sword.

The lower hand of Manjushri Namasangiti is an arrow. The first left of Manjushri Namasangiti is placed at the heart holds the stem of an Utpala flower blossoming at the left ear supporting the . The second left holds to the side a bow.

The hair of Manjushri Namasangiti is tied on the top of the head in a topknot with some falling loose across the shoulders. Manjushri Namasangiti is adorned with a jeweled crown, earrings, necklaces, armlets, and bracelets.

Manjushri Namasangiti wears a long and short scarf on the upper body and a skirt below. With the feet adorned with anklets. The two legs of Manjushri Namasangiti are folded in posture and right over left. Manjushri Namasangiti is seated atop a flat moon disc and multi-petaled seat.

On the of the thangka an off-white , the iconometric measuring lines have been drawn with red and blue ink indicating the correct physical proportions for the drawing of this form of Manjushri. With the right arm raised the upper torso and head shifts with a pronounced lean to the left. This corresponds to the off centerline extending from the tope, topknot of hair, downward under the nose, and necklace centerpiece.

The thangka traditions follow set guidelines for body proportions varying according to buddha figures, peaceful, wrathful, and human and numerous variations between. The root textual sources for the of proportions are the Manjushri Mulakalpa, Samvarodaya, , and Kalachakra Tantras.

Earlier, we learn about the viability of the Manjushri Namasangiti and iconography of the Manjushri Namasangiti. Now we are going to learn about Manjushri Namasangiti thangka.

Manjushri Namasangiti Tantra

The thangka of Manjushri Namasangiti is from . It was made in between 1800  AD to 1899 AD. It is from lineage. The size of the is 68.58×53.98cm.The base of the painting is ground mineral pigment on . Presently, this painting is in the .

By Depicting this thangka, we will learn about Manjushri Namasangiti.

Manjushri Namasangiti is the principal deity of the tantra with the same name. The Manjushri Namasangiti Tantra was first translated into in the 8th century and re-translated during the Sarma period in the 11th century and classified as both a and .

The Manjushri Namasangiti Tantra depicts numerous of Manjushri both peaceful, wrathful, and full with many deities such as the Vagishvara. and from all traditions memorize the Tantra in early childhood.

Earlier, we learn about the viability of the Manjushri Namasangiti, the iconography of the Manjushri Namasangiti, and Manjushri Namasangiti thangka. Now we are going to learn how Manjushri Namasangiti is presented with Buddha.

Manjushri Namasangiti with Amitayus Thangka

The thangka of Manjushri Namasangiti with Amitayus Buddha is from Tibet. It was made in between 1500  AD to 1599 AD. It is from Nyingma, , and Drukpa (Kagyu) lineage. The size of the painting is 88.90×61.60cm. Ground mineral pigment on cotton, Raised Gold is used to color it. Presently, this painting is in the Rubin of .

By Depicting this thangka, we will learn  Manjushri Namasangiti is presented with .

 

In the surroundings of Manjushri  Namasangiti, there are 100 figures of Manjushri Filling all of the each with one face and two hands. These figures display the three most common postures of Manjushri which are given below:

  1. Manjushri holds aloft a sword of with the right hand and in the left the stem of a lotus to the heart blossoming at the left ear supporting the Prajnaparamita Sutra.
  2.  Manjushri performs with the two hands at the heart the Teaching (gesture) while holding the stems of two lotus blossoms supporting the sword and Prajnaparamita Sutra.
  3.  With the right hand in the mudra of generosity extended across the knee, Manjushri holds the stem of a lotus to the heart with the left.

The blossom supports both the sword and Prajnaparamita Sutra. This last form is typically white in color and the former two can be yellow, orange, red, gold, or white. The manner of sitting, ornaments, and seats are similar to the central figure. At the bottom left of the thangka, there is is a seated on a wearing red monastic robes and hat accepting white scarves from a lama and a laywoman wearing an apron.

Yellow Jambhala

Yellow is on the right side of the thangka. Yellow Jambhala Seated to the right is the deity with one face and two hands. Yellow Jambala is holding a Bijapuraka fruit in the right and a mongoose on the left. Yellow Jambhala is seated above the lama is the long-life Buddha, Amitayus, with the hands folded in the lap holding a vase.

Earlier, we learn about the viability of the Manjushri Namasangiti, the iconography of the Manjushri Namasangiti, Manjushri Namasangiti thangka, representation of  Manjushri Namasangiti with Amitayus Buddha. Now we are going to learn about Manjushri Namasangiti with Blue Black Sarasvati.

Manjushri Namasangiti with Blue Black Sarasvati

The thangka of Manjushri Namasangiti with Blue Black Sarasvati is from Central Tibet. It was made in between 1800  AD to 1899 AD. It is from Uncertain lineage. The size of the painting is 22.86×16.51cm. Ground mineral pigment on cotton, Fine Gold is used to color it. Presently, this painting is in the Rubin Museum of Art.

By Depicting this thangka, we will learn  Manjushri Namasangiti is presented with White Manjushri.

Manjushri is known as of wisdom from the Manjushri Namasangiti Tantra. In a peaceful manner,  Manjushri is yellow in color with one face and four hands. Manjushri holds in the first right a blue sword of wisdom wrapped with licks of flame and in the left held to the heart the stem of a pink Utpala flower blossoming at the left ear supporting the Prajnaparamita text. In the lower of the thangka, there two hands are an arrow and a bow.

Manjushri Namasangiti is adorned with fine ornaments of gold and jewels as a crown, earrings, necklaces, and bracelets. Manjushri Namasangiti is draped in a variety of scarves, , and a lower garment of rainbow colors. Manjushri Namasangiti is seated atop a moon and multi-colored lotus seat he emanates a pale yellow nimbus of fine light rays and a green areola completely enclosed by dark green leaves and lotus blossoms.

White Manjushri

White Manjushri is at the bottom left of the thangka. White Manjushri is with one face and two hands. The right is extended in front of the gesture of generosity. And the left holds to the heart an Utpala stem with the Prajnaparamita book above. White Manjushri is adorned with jewels, gold ornaments, and silks of various colors.

White Manjushri sits in vajra posture above a lotus within a display of orange and red lights. To the right of the thangka, there is Blue-black Sarasvati with one face and two hands. Blue-Black Sarasvati is performing the Dharma teaching mudra at the heart while holding the stems of two Utpala flowers blossoming at both ears and supporting the wisdom sword and book.

Earlier, we learn about the viability of the Manjushri Namasangiti, the iconography of the Manjushri Namasangiti, Manjushri Namasangiti thangka, and representation of  Manjushri Namasangiti with Amitayus Buddha. And finally, we learn about Manjushri Namasangiti with Blue Black Sarasvati.

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