Interpreting Ushnishavijaya

Interpreting Ushnishavijaya

Ushnishavijaya with thirty-three deity indicates the Victorious Crown Ornament. She is one of three long-life deities who is very popular in and . The other two deities are and .

The  life of the Ushnishavijaya

In this section, we are going to learn about the life of the Ushnishavijaya. After that, we will learn the short description of the word Ushnishavijaya itself.

Etymology of Ushnishavijaya

Ushnishavijaya is known as gtsug tor rnam rgyal ma in .  Ushnishavijaya is a buddha of in .

Previously, we learn about the life of Ushnishavijaya. Now, we are going to learn the of Ushnishavijaya.

Iconography of the Ushnishavijaya

In the iconography of the Ushnishavijaya, we will learn about her posture, hand and leg gesture, and different representations of Ushnishavijaya in thangka and statue.

Posture of  Ushnishavijaya

Although is seemingly specific in function as a long-life Deity. Ushnishavijaya belongs to the larger classification of Meditational Deity. Ushnishavijaya has several with the most common being the three-faced and eight-armed.

In addition, this particular form is known as the Thirty-three Deity . And the belongs to a set of numbering approximately forty-five in total which is based on the text of the in the 11th century.

The color of the Ushnishavijaya is an autumn moon. Ushnishavijaya is with three faces such as white, yellow, and blue. Ushnishavijaya has eight hands. Each face has three very large eyes.

The first right-hand of Ushnishavijaya holds a vishvavajra. The second right hand of Ushnishavijaya holds a with residing.

The third right-hand holds an arrow. And the fourth right hand of Ushnishavijaya in supreme generosity. The first left of Ushnishavijaya holds a lasso. The second left hand of Ushnishavijaya a bow.

The third left hand of Ushnishavijaya is for bestowing protection.  And the fourth left hand is for meditative equipoise and for holding an auspicious nectar vase, complete with and jewel ornaments, seated in vajra posture. Within the center of the two-dimensional circular diagram, Thangka is representing the top view of a three-dimensional celestial palace.

And the Thangka surroundings are the deity Ushnishavjiaya which is white in color with three faces and eight hands who are seated in vajra posture.

Previously, we learn about the life of Ushnishavijaya and the iconography of Ushnishavijaya. Now, we are going to learn about depicting Ushnishavijaya.

Depicting Ushnishavijaya Thangka

The thangka of Ushnishavijaya is from Tibet. The thangka is made between 1500 – 1599 AD. Ushnishavijaya is from () and . The base of the painting is Mineral Pigment on . The thangka of Ushnishavijaya is a Private collection.

By depicting this thangka, we will learn about the presentation of Ushnishavijaya with Eight deities, Red veranda,  and Goddess, etc.

Eight deities

Eight deities have surrounded the central figure in the thangka.  Eight deities in various colors. Each with one face and two hands who are seated in vajra posture.

They are all adorned with crowns and ornaments and each holds their own distinct hand objects. The floor of the celestial palace is divided into four colors ornately patterned with floral designs i.e. red, green, blue, and yellow.

Red veranda

The red veranda is in the surrounding square in the thangka. The red veranda is outside of the palace walls.

Goddess

Goddess is on each side of the four doors in the thangka. There are two dancing sixteen in total. The outer blue and white lines forming a square enclosure represent the stylized decorative facade on the four sides of the palace roof.

She is adorned with looped garlands and upright poles with red streamers. The elaborate lintels above each of the four doors are constructed of four-tiered steps topped with a . And two yellow-colored reclining deer with a silk canopy above.

The palace is placed squarely on a horizontal multi-colored double vajra with only the prongs and heads appearing on the four sides. The outer ring is a of multi-colored which is rectangular in shape and representing the enormous upon which the entire palace structure rests. The final ring is composed of the multi-colored flames of pristine awareness completely enveloping the entire Ushnishavijaya Mandala.

Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya, and depicting Ushnishavijaya. Now, we are going to learn about Ushnishavijay with Buddha.

Ushnishavijaya with Amitabha Buddha Thangka

The thangka of Ushnishavijaya with Amitabha Buddha is from Western Tibet. The thangka is made between 1400 – 1499 AD. Ushnishavijaya with Amitabha Buddha is from Sakya and lineage. The size of the painting is 50.80×47.63cm. The base of the painting is Ground Mineral Pigment on Cotton. Presently, the thangka of Ushnishavijaya with Amitabha Buddha is in the .

By depicting this thangka, we will learn about the presentation of Ushnishavijaya with Buddha , Hayagriva and Parnashavari,

Each face has three very large eyes. The first right-hand holds a Visvavajra and second a white lotus with Amitabha residing. The third an arrow and the fourth in supreme generosity.

The first left holds a vajra lasso. The second left second a bow. The third left is bestowing protection and fourth in meditative equipoise holding an auspicious nectar vase.

Buddha Vairochana

The Buddha Vairochana sits in front of the spire of the directly above the head of Ushnishavijaya.

Hayagriva and Parnashavari

Hayagriva and Parnashavari are at the lower sides of the thangka.

Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya,  depicting Ushnishavijaya, and the representation of Ushnishavijay with Amitabha Buddha. Now, we are going to learn about the presentation of Ushnishavijaya with .

 Unshishavijaya with

The thangka of Ushnishavijaya with Buddha is from . It is made between 1800 – 1899 AD. Ushnishavijaya with Shakyamuni Buddha is from , Drukpa (Kagyu, Bhutan), and Buddhist lineage. It is from a private collection.

By depicting this thangka, we will learn about the presentation if Ushnishavijaya with Vaishravana Riding a Lion and Dorje Yudronma, etc.

At the top center is Shakyamuni Buddha. To the viewer’s left sits Shabdrung . At the top right and bottom center, there are two unidentified Bhutanese teachers wearing monastic robes and the fan-like hat typical of the Drugpa Kagyu tradition.

Vaishravana Riding a Lion and Dorje Yudronma

Vaishravana Riding a Lion is on the bottom left of the thangka. Dorje Yudronma is on the right side of the thangka.

Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya,  depicting Ushnishavijaya,  the representation of Ushnishavijay with Amitabha Buddha. and the representation of Ushnishavijaya with Shakyamuni Buddha. Now, we are going to learn about the presentation of Ushnishavijaya with .

Ushmishavijaya with Vajrapani Thangka

The thangka of Ushnivijaya with Vajrapani is from Tibet. It is made between 1400 – 1499 AD. Ushnishaviaya with Vajrapani is from Sakya and Buddhist lineage. The base of the painting is Ground Mineral Pigment on Cotton.

By depicting this thangka, we will learn the presentation of Ushnishavijaya with .

The first right-hand holds a Visvavajra and second a white lotus with Amitabha residing. The third hands hold an arrow and the fourth in supreme generosity. On the left of the chaitya above the is Vajrapani.  The left-hand holds an Utpala with a vajra.  She is standing in a manner and adorned with silks and jewels.

Avalokiteshvara

Avalokiteshvara is present in the outer circle of the . on the right side of the chaitya above a moon is Avalokiteshvara with a body white in color and the left hand holds a lotus.

Previously, we learn about the life of Ushnishavijaya, the iconography of Ushnishavijaya,  depicting Ushnishavijaya,  the representation of Ushnishavijay with Amitabha Buddha. and the representation of Ushnishavijaya with Shakyamuni Buddha. Finally, we learn about the presentation of Ushnishavijaya with Vajrapani.

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