In Buddhism, wrathful deities or fierce deities are the fierce, wrathful or forceful forms of enlightened Buddhas, Bodhisattvas or Devas. Because of their power to destroy the obstacles to enlightenment, they are also termed krodha-vighnantaka, "Wrathful onlookers on destroying obstacles". Wrathful deities are a notable feature of the iconography of Mahayana and Vajrayana Buddhism. These types of deities first appeared in India during the late 6th century with its main source being the Yaksha imagery and became a central feature of Indian Tantric Buddhism by the late 10th or early 11th century.
Buddhism includes a wide array of divine beings that are venerated in various ritual and popular contexts.
Initially they included mainly Indian figures such as devas, asuras and yakshas, but later came to include other Asian spirits and local gods.
They range from enlightened Buddhas to regional spirits adopted by Buddhists or practiced on the margins of the religion.
The Pali Canon and others suggest that the Buddha taught that belief in a Creator deity .
Heruka, is the name of a category of wrathful deities, enlightened beings in Vajrayana Buddhism that adopt a fierce countenance to benefit sentient beings.
In East Asia, these are called Wisdom Kings.
Herukas represent the embodiment of indivisible bliss and emptiness.
They appear as Iṣṭha-devatā or meditational deities for tantric sādhanā, usually placed in a mandala and often appearing in Yab-Yum.
Heruka represents wrathful imagery with indivisible emptiness (śūnyatā), bliss, peace, wisdom, compassion (bodhicitta), and love. .
Brahmarupa Mahakala is the outer form of Chaturmukha Mahakala. He is the special protector of the Guhyasamaja Tantra and the 2nd main protector of the Sakya School.
Brahmarupa, a benign form of the wrathful deity Mahakala, is shown as a bearded nomadic ascetic, sitting on a corpse, wearing a bone apron, and holding a thighbone trumpet and a skull cup.
A protector of the Sakya school of Tibetan Buddhism, he is credited with introducing the Hevajra .
Samantabhadra is known as Universal Worthy is a Bodhisattva in Mahayana Buddhism associated with Buddhist practice and meditation. Samantabhadra is most commonly described as a bodhisattva himself, although some Vajrayana Buddhist traditions, namely the Nyingmapa, regard him as a primordial Buddha in indivisible Yab-yum union with his consort Samantabhadri.
The Life of Samantabadra Buddha
In this section, we are going to learn about the life of Samantabhadra Buddha. After that, we will learn the short etymological .
Shri Devi is not one entity or personality. Depending on the form of Shri Devi she could be a wrathful emanation of a number of different deities such as Shri Devi Magzor Gyalmo is the wrathful form of Sarasvati. Some forms of Shri Devi with four arms such as Dudusolma are the wrathful form of Shri Lakshmi. There are dozens of different variations and forms of Shri Devi.
Shri Devi wrathful with one face and .
Lion-faced Dakini is a secret form of Vajrayogini also has a relationship to Troma and the practice of chöd. She is appropriate for clearing obstacles of the most pervasive and malignant kind and cutting through the “three poisons” of mind.
This ancient practice has been important in Tibetan Buddhism since the time of Guru Rinpoche. PeGyal Lingpa received this revelation directly from Padmasambhava, appearing in a red-black form, instead of the more common dark blue .
Posture is the position of the Buddha in which Buddha holds his body when standing, sitting,walking, running and sleeping.
According to the modern practice there are two kinds of posture to hold your body. Dynamic posture and static posture.
Dynamic posture is how you hold yourself when you are moving, like when you are walking, running, or bending over to pick up something.
Static posture is how you hold yourself when you are not moving, like when you are .
The last main step involving the application of colours was the rendering of the faces of the main figures. This was in effect the final stage of outlining, and sometimes a master painter would step in at this point and complete the painting of his student.
Of all the finishing details, the facial features demanded the most attention, and among these it was the eyes that received the greatest care. The painting of the .