Subject: Boethang Gonpo Statue
Panjarnata (Tundikhel)Uncovering the Significance of The Boethang Gonpo Statue [Mahakala on the Tibetan Plain] in Nepal
Nyoshul Khen Yangsi Jamyang Dzhopa, 30 November 2023 [Uploaded to HAR February 22, 2024]
Advisor: Dr. Bibek Sharma
Introduction and Goals
“Beyond every mountain pass lies a hidden Valley, sheltering a guru who embodies a unique tradition. Within these Valleys, diverse schools of thought emerge, each with its devoted followers.” 1
Tundikhel Bajrabir Mahakala acts as a junction for various cultures, where the Mahakala statue serves as a guardian, embodying the essence of diverse stories and traditions. For the residents of the Kathmandu Valley, this image stands as the ultimate protector with its watchful eyes specifically safeguarding the holy Swayambhunath Stupa. Beyond its role as a guardian, it holds a position of deep admiration as the most potent wish-fulfilling jewel as it is believed to bestow blessings for mundane needs such as obtaining visas, success in business, and securing good grades. Its influence extends even further as tantric practitioners venerating the Bajrabir Mahakala seek spiritual empowerment and guidance, as well as placing confidence in this deity to drive away negative forces and obstacles on their spiritual journey. Mahakala in their eyes, becomes the epitome of both protection and fulfillment, a divine force powering both mundane and supermundane aspirations. Similar to how each Lama has their distinct traditions, the Mahakala statue also combines various aspects like geomantic significance, divine myth, and human legend in its distinctive fashion. Engaging in dialogues with both the lay community and scholars, drawing insights from textual sources, and digging into the wealth of narratives and practices surrounding the Mahakala statue in both Tibetan Vajrayana and Newari Vajrayana contexts, this project aims to uncover the significance of the mysterious Bajrabir Mahakala.
Literature Review
Kathmandu Valley has long stood as a cultural and intellectual melting point where Buddhism has flourished so greatly. The Valley holds a special place for many Buddhists today and in the future as being the birthplace of Buddhsim’s ultimate refuge, Buddha Shakyamuni, while a topic of dispute, nonetheless claimed proudly by Nepalese authors in their books and something which resonates deeply within the general public. It holds an even greater significance to Mahayana and tantric Buddhists as it is accredited as of safeguarding buddhist sanskrit literature 2 . It became one of the first two countries that helped preserve the sanskrit based Buddhist tradition which survived in Nepal after the decline of a similar tradition in India 3 . Which was then found in the years between 1822 to 1843 A.D by a British ethnologist named Brian Houghton Hodgson who discovered in the monasteries of Nepal the original documents of the Buddhist canon in sanskrit. Hodgson went on to distribute these manuscripts to learning centers in India and abroad which then became the foundation for the extensive studies of northern Buddhism. As a consequence, it was later designated that the entire buddhist literature in sanskrit belonged to Nepal 4 .
The discovery of these sanskrit texts likely occurred during the Malla period, as indicated by Stephen Berkwitz in his book South Asian Buddhism A Survey. He notes that considerable efforts were put in preserving and expanding collections of Buddhist texts during this era 5 , from which the Sanskrit texts received particular emphasis, given Nepal's embrace of Tantric Buddhism as the superior form within the tradition 6 . Not only does Nepal serve as a valuable resource for Buddhists with its preservation of rich architecture but also with the safeguarding of Dharma within the collective consciousness of the people in Kathmandu Valley. For a deeper understanding and appreciation of the Valley, it is beneficial to consider other countries. In comparison to nations where Tantric Buddhism has flourished, Nepal stands out as the most vibrant and alive, without facing any competition or rival in the material world. The stunning heritage, represented by temples and stupas built by Newar artists, carries immense tantric and spiritual significance. This influence extends beyond the physical boundaries of Nepal to ancient Tibet where Nepalese craftsmanship contributed to significant Tibetan structures. A notable example is Tibet's oldest Buddhist temple, the Jokhang, designed after a Nepalese temple and crafted by Nepalese artisans 7 . With the people of this Valley, the artistic brilliance of Newar craftsmen transcends mere material beauty as it also reflects an internal richness and an expression that is to be worshiped and not merely an eyepiece. Therefore, functional rather than decorative. Unlike in highly cultured societies worldwide, trends of the material world seem to have done no significant damage here where the minds of the Kathmandu Valley remain virtually unaffected, a proof to the profound depth of tantric mental penetration seemingly unaffected by the global trends that have shaped other communities.
Equally important in understanding the significance of the Mahakala is the understanding of Tantric Buddhism of Nepal after all Mahakala has a strong association with Vajrayana in both the Tibetan Vajrayana and Newari Vajrayana contexts. According to Mary Slusser, Vajrayana Buddhism began to emerge around the 7th century, reaching its peak influence in the tenth and eleventh centuries 8 . The Valley evolved into a cultural and intellectual trade hub for Vajrayana practitioners during a period when Tibetan adepts and scholars journeyed through Nepal, continuing to India and Kashmir for teachings before returning with a diverse range of sutric and tantric traditions. However, it is equally important to recognize and appreciate the accomplished tantric masters of Nepal including Phamthinpha, Mahakaruna, and Santibhadra, without diminishing their contributions 9 . Another reason which played a big role in Nepal becoming this intellectual and cultural hub was due to the decline in Buddhism in India and the architectural damages and destructions of different well-known Buddhist universities such as Nalanda and VikramshIla which made many scholars and practitioners flee to Nepal who then traded with Newar Buddhist laities their knowledge in return for lodging and food. With such auspicious beginnings Vajrayana Buddhism quickly gained a lot of popularity as seen in the testimonies of Jetsun Tāranātha, the remarkable scholar of the Jonang school of Tibetan Buddhism, who writes “In the small country of Nepal the buddhist doctrine was extremely active there the Mantrayana and the Mahayana were very strong and though general there were quite a large number of Theravada disciples all the kings and the nobility honored the Mahayana'' 10
Though there is much to say about the history of Vajrayana in Nepal and how it became popular, it has often been more interesting to learn about how the Newari Vajrayana tradition withstood and integrated the sheer dominance of Hinduism during the period which Tulku Rigzin called the groundbreaking change in the history of Kathmandu Valley which revolutionized societal behavior on a massive scale. This change was brought by a Malla King named Jayasthiti Malla who after many civil wars, finally in 1382 ascended the throne and introduced or enforced the Valley into a rigid hierarchy caste system 11. A system that reflected upon the caste system, introduced by the Aryans in the second millennium in India which was determinative for the development of ancient Indian civilization 12 .
Despite the debates about Jayastithi Malla's specific role, it is acknowledged that a reformation did occur during his reign. While the methods employed may not have been optimal, there is recognition that such reforms were necessary for the well-being of the people in the Kathmandu Valley who found themselves and their country very much vulnerable by civil wars, foreign invasions, and overall lack of uniformity in law and justice 13 .
[] So, what did this reformation mean for Buddhism in Nepal, and how did it affect it?
The answer lies in its integration of the very caste system, a system of hierarchy rejected by the Buddha, a renowned revolutionary figure for going against this caste system. A quote from the Asala Maya Sutra, cited by Berkwitz in South Asian Buddhism captures Buddha's stance on the caste system where he is portrayed as convincing a Brahmin that claims of Brahmin superiority are unsustainable and nonsensical. Instead, he asserts that one's greatness is measured by morality, not by birth in a particular family 14 .
[] How did this integration impact Buddhism in Nepal?
Following the so-called reformation, the number of celibate monks in Nepal dramatically declined as the elevated social status of householder priests among Newari Buddhists, known as Vajracharyas held a higher social status than ordinary monks and nuns, whose intellectual wisdom no longer held significance as their social standings were determined by heredity 15 . Consequently, once celibate monks, deprived of social status merely by being monks or nuns turned to the pursuit of secular activities 16 . Now this gave rise to the power and elevated status of vajracharya who along with the Shakyas were considered as the monastic community. As a caste group, they were also referred to as “bande” or “bare,” which shares the same etymological root with theSanskrit term “vande” or “Vandana,” which implies those worthy of respect 17 . Both Vajracharyas and Shakyas receive monastic ordination as a life cycle rite in early childhood and their ritual status as a monk is repeatedly renewed through membership in monasteries 18 . Of these two caste group Vajracharyas holds a superior position due to the fact they alone are permitted to act as priests which allows them to perform religious ceremonies, life cycle rites, fire rituals, protective rites, and the power and permission to do so is conferred upon on them in an initiation rite given only to Vajracharyas known as the “Ava luyegu’ “Making of the Acharya” 19 . The systematization of Jayasthiti Malla forced the Newar Buddhists to follow a structure much similar to the Hindu system added with the departure from philosophical and meditational understanding by Newar priests, “the Buddhist community began to drift progressively into the Hindu fold” 20 . However, it did not mean a decline of Buddhisim in general as Mary Shepard Slusser writes in her book that because of the trend in Vajrayana that took over Nepal during the Malla period, the criteria for venerating religious leaders was not based on their understanding and competence in doctrine, but in their wonder workings as magicians. 21 This kept the tradition going as there were many Newari Vajracharyas during that time who were believed to possess magical powers such as flying. One particularly interesting miraculous story of a Vajracharya is that of the Newar teacher Shashvat Vajracharya of Sawal Bahal who supposedly “pinned” down a flying Mahakala which led to the enshrinement of the Tundikhel statue. In addition to the widespread accounts of various magical stories involving Vajracharya, there was also a resurgence of worshiping of different deities as well as the introduction of new manifestations 22 . Which brings us to the central theme of this project: The Adamantine Hero “Bajrabir” among the adherents of the adamantine path. Traditionally seen as a deity belonging to the class of dharmapalas “cho kyong” literally “Dharma protect”. Sometimes considered to be the emanation of Buddhas or sometimes spirits and demons who have been subjugated and bound under oath by great masters such as Padmasambhava for protection of buddha dharma or sometimes in the Newari context, a guardian protector and a principal object of Mahakala esoteric worship. As mentioned earlier, during the Malla period, there was a resurgence in worshiping of old and the introduction of new Vajrayana deities and one of them was Mahakala which began to demand a cult of significance importance 23 . It is important to keep in mind that Mahakala did not belong to the latter group of new Vajrayana deities as Slusser claims 24 , as statues of the Mahakala with the same iconography as the Bajrabir Mahakala were already prevalent in Nepal. One of which still resides in the Swayambhu Mahachaitya museum in Nepal which consists of a stone inscription that dates it back to the year 781 25 . Of all the different forms of Mahakala worshiping in the Kathmandu Valley, the most famous one is the worshiping of the two-armed Bajrabir Mahakala of Tundikhel also known as “Boethang Gonpo'' in Tibetan meaning “Mahakala of the Tibetan plain’-- which was named as “Boethang” after Bari Lotsawa, the second throne holder of the Sakya school of Tibetan Buddhism had bought the land for the Tibetan merchants as they were treated poorly by local landlords and penalized by the King, often for minor mistakes 26 . —situated in the heart of Kathmandu city near Ratna park. It is considered not only the most famous Mahakala place in Kathmandu Valley but also a site associated with the Newar myth of “first contact” with this deity by a local Vajracharya adept 27 The importance and the popularity of this particular statue lies in the famous Newar legend where a Newar teacher saw the Mahakala flying over the sky before pinning it down to the particular place for the protection of Kathmandu Valley, to which the Mahakala had to negotiate with the vajracharya to only come every Saturdays because as being the “Maha” great “Kala” time, “great time” meaning “eternity”, he must ceaselessly circle the earth 28. Now, following upon the Newar legend of the Tundikhel Bajrabir Mahakala, we see two different narratives. One, in which the story follows the same narrative of a flying Mahakala and a powerful Vajracharya pinning it down but differing only in minor details such as the one told by Mary Slusser in which the vajracharya is identified as Jamana Guvaju where he engages with an artisan to build an image in the likeness of the Mahakala he had seen and after which the vajracharya forced the unwilling Mahakala into the image. In the works of Todd Lewis and Poonam Rana, we witness a sympathetic narration on the aspect as both accounts depict how the Mahakala was requested and not forced 29 . “Sasvat vajra then worshiped the Mahakala with a hymn of his own composition and pleased the Mahakala. He then promised to visit the site during his travels [flight] after which he blessed Shasvat Vajracharya, went up in the sky, and then disappeared” 30 . Now, as one knows the importance and significance of inanimate objects in religions are crucial, holding paramount value. For lay worshippers, statues and stupas of gods and goddesses transcends the mere material appearence, representing more than stone and wood. Scholars and adepts, while recognizing these objects as symbols, still engage in extensive worship, viewing them as a medium or bridge to help in understanding aspects that the human mind may struggle to grasp without the use of symbols. So naturally the Tundikhel Bajrabir Mahakala becomes the perfect representation of a living image who comes alive every Saturday to fulfill the needs of the people and to live upto the promises he made.
The precise dating of the statue itself remains undetermined. Based on the works of authors like John C Huntington and Dina Bangal who assert that this image predates the 8th century, making it a creation from a period preceding the Malla era. In his book “Nepal mandal'' Keith Dowman asserts how according to the Newar legend it was Shashvat vajracharya of the pre Malla period who is attributed as the installer of the Tundikhel Bajrabir Mahakala along with the Te baha sankata image 31 . He also draws upon the material of the black stone and the massive style suggesting it to be a Licchavi period style 32 . John C Huntington and Nina Bagdel also in their book circle of bliss assert the possibility that the image may have been a wealthy Newar Buddhist response to the royal patronage of the massive Hindu sculptures during the reign of the de facto ruler Vishnu Gupta [633-643] 33.
Now, having talked about the historical origin of this statue we now draw our attention towards the identification of this Mahakala. According to the Newar textual sources, Mahakala is variously called as a Bodhisattva, Vajrasattva, king of Yakshas, and subduer of Maras 34 According to the Newari context, Mahakala's original role was that of a guardian protector, assuming the responsibility of a protector deity. However, as time progressed, there was a transformative shift in his status, elevating him to the stature of a Buddha deity 35 . This change in status designates Mahakala as a key figure in Vajrayana esoteric worship, where he becomes the central focus of tantric sadhanas, the spiritual practice that involves dedicated rituals and meditation on specific deity 36 . Nonetheless, it still maintains this identity of being a guardian or a protector deity. The Bajrabir Mahakala in the Newar Buddhist context according to Huntington, has a strong connection with Chakrasamvara who along with Vajravarahi represent a pacific or harmonious form. This union is in turn seen as the basis for wrathful deities of which the Mahakala is preeminent 37 . Now, as a wrathful deity its responsibilities are usually that of dispelling darkness and obstacles of its worshippers but in the case of the Bajrabir Mahakala of Tundikhel, it has a special responsibility. That is to protect the swayambhunath stupa with its gaze. A gaze so powerful that now they have put up a pair of dark sunglasses with a small image of swayambhunath stupa inside as the city developed and many buildings were built around the temple blocking the view of swayambhunath stupa. It is also said that disasters occurred when the nepalese military wanted to build their encampments in front of the Mahakala shrine 38 .
The Tibetan context
In the Tibetan context, Mahakala takes on to a whole new level of interpretation, variation and purpose. And In order to better understand them it's important to establish which class of deities they belong to. Mahakala in general belong to a class of wrathful deities known as protector deities “cho kyung” or Guardian deities “sprung ma” or oath bound deities “dam ryken” although the latter is often used for addressing non Buddhist deities which are subdued and now bound by oath to protect Buddha dharma 39 . The protective deity pantheon can be divided into two main categories. Firstly, the worldly protector deities who are still bound to samsara with emotions and afflictions. Secondly the enlightened or wisdom protector deities who are emanations of different buddhas who are beyond samsara and worldly afflictions. Mahakala belongs to the latter part as it is considered to be the wrathful emanation of Avalokitesvara who after seeing with his omniscient eyes that the number of beings still dwelling in samsara had neither increased or decreased after which, he broke down in sheer disappointment. And That’s when the Buddha Amitabha appeared in front of Avalokitesvara and uttered words of encouragement and radiated numerous rays of blessing from which the noble Avalokitesvara conceived the idea of emanating as a wrathful form from which he could subdue the degenerate beings of the age of darkness, offer protection to beings wandering aimlessly in bardo, and lastly to provide simple antidotes to the ones suffering so that their needs could be met. So with this aspiration emerged a dark blue hung letter which transformed into a powerful wisdom protector [Mahakala]. As a sign of auspiciousness Tathagatas of all ten direction proclaimed with great happiness “it is well that you have made this resolution you shall have the empowerment of all the dakinis, strength of the yama and the body, speech, mind qualities of all the buddhas throughout the three times 40 . But not all Mahakalas are considered to be the direct emanations of Avalokitesvara as the pantheon of Mahakalas swell up to 75 different types and each Mahakala have their own distinct association with different Buddhas and even with specific tantric deities such as Chakrasamvara, Guhyasamaja, and Hevajra 41. The particular interest of Mahakala in this case is the Pañjaranātha Mahakala [Lord of the pavilion], a protector for the shri Hevajra cycle of Tantras and the principal protector deity of the Sakya tradition. 42 Where it is practiced to this day as both a dharma protector and a yidam 43 . To many followers of the sakya tradition, the Bajrabir Mahakala of Tundikhel is infact a statue of their principal protector, lord of the pavilion. Although there aren’t many mythological or academic sources which identify it as the lord of the pavilion except the Himalayan art resource website 44 , which does classify this particular image as one of Lord of the pavilion deities and dates the statue of being a 11th century product similar to the other sources mentioned above.
Another important legend associated with this statue in both Newar and Tibetan sources is that of the famous Kagyu yogin Tsangnyon Heruka and his special relationship with the Mahakala statue of Tundikhel 45 . Tsangnyon heruka “the madman Heruka from Tsang”, 1452-1507] one of the most famous master of the kagyu school of tibetan Buddhism who’s best know as a biographer of the life of Milarepa and Marpa, both classics of tibetan literature. He spent much of his life wandering around the snowy mountains of Tibet, displaying numerous miraculous wonders and yet living a very questionable lifestyle hence the name “madman of tsang” 46 . In 1504, the king of Kathmandu Ratnamala invited Tsangnyon over to Kathmandu for assistance in restoring the Swayambhunath stupa of which the Mahakala is protector of. According to Stephan Larsson, Tsangnyon, during his first visit to Kathmandu is said to have visited the Tundikhel Mahakala image and performed expiratory rituals [skangs bshags] and exhortations [skul] in the shrine room during which the statue started to move and become as big as the sky. After which, it started dancing violently. Tsangnyon witnessing this sight, wasn’t frightened rather he took Mahakala by the hand and started to dance together 47 . But this wasn’t the only account of his special relationship with this Mahakala. During his second visit to ktm, people saw him again dancing violently with the Mahakala 48 . But his relation to the Mahakala wasn’t just dancing with him. Tibetan biographers such as Gotsangrepa and Ngodrup Pembar emphasize the importance of the Mahakala in Tundikhel along with Ganapati [king of obstacles vinayaka] and Visvakarman who played important roles in supporting Tsangnyon during his renovation 49 . A notable aspect of this relationship is how well it was acknowledged and recorded by the Newar historians as well as the lay Newar community despite Tsangnyon being from a different tradition and belonging to a country which is seen as the spiritual descendant of Nepal since Buddhisim first traveled through Nepal to Tibet. A clear account of this is given in Stephen Larson's book- “Your guru is not a human being; he is Mahakala in person. Your guru doesn’t eat human food but our gods offer it to him. Because the guru has three eyes and is saluted by Mahakala we are very afraid of him” 50 .
Conceptual Framework and Methodology
In the examination of the Mahakala statue's significance within Newari and Tibetan Vajrayana traditions, I used the approach of combining textual and anthropological investigation. This project involves referencing art historical perspectives and drawing insights from scholarly literature to unravel the symbolic and cultural layers embedded in the Mahakala statue. Both emic and etic viewpoints are considered, navigating through legends, myths, and literary sources to provide a brief understanding of the different narratives surrounding the Bajrair Mahakala of Tundikhel. An essential part of this study involves combining information from literature research and field data gathered during interviews. By comparing expert opinions with stories and lived experiences narrated by the lay worshippers, we get a deeper understanding of the significance of the Mahakala statue. The overlap of perspectives shows an interesting connection between spoken traditions and written accounts, stressing how Mahakala's stories have stuck around which emphasize cultural continuity. Interestingly, we notice some variations when looking at how 49 Larson, Stephen. "Tsag Nyon Heruka's Sixteenth Century Renovation of the Svayambhu Stupa." Part Two Swayambhu Stupa, pp. 226. 50 Ibid, 224.
Tibetans and Newars see things which help us understand how cultural interpretations can change and evolve. In this study, I have given my foremost respect and attention in gathering insights from a spectrum of voices and not solely relying on literary sources or authoritative perspectives but rather seeking the perspectives of laypeople. It attempts to understand the evolving narrative of the Mahakala statue. Methodologically, this project consists of extensive library research and anthropological fieldwork. The library research delves into the wealth of literature surrounding Mahakala, offering the foundational understanding of the historical and cultural contexts. Anthropological fieldwork, primarily conducted in Tundikhel where the statue resides, helped gather firsthand experiences and cultural nuances related to the Mahakala statue. However, I faced a significant challenge in communicating with the Newar priests regarding symbolic and ontological significance of the Mahakala in the Newar context. Therefore, as a result, my paper focuses predominantly on the legends and myths rather than extensive ontological aspects surrounding the Mahakala within the Newar tradition . Similarly, in the Tibetan Vajrayana context, I’ve found that there exists numerous interpretations within different sects regarding the Mahakala. Despite having more information than in the Newar context it still posed a challenge to provide a comprehensive explanation of Mahakalas ontological significance as it required gaining access to esoteric texts which are forbidden from sharing with those who hadn’t undergone secret tantric initiations.
Fieldwork and analysis
My fieldwork regarding the Bajrabir Mahakala began with a funny conversation with a friendly taxi driver who interrupted me when I asked him about the “Tundikhel Mahankal” and corrected me saying that it’s actually called “the visa office Mahakala”. Which of course was a joke but he later explained saying how this Mahakala is seen as this potent wishful filing jewel and especially potent in terms of granting visas for people 51 . The idea of this potent wishfulling jewel is something that I’ve encountered in all my interviews whether it be the scholars or the lay worshippers. One notable moment was during “patra puja” a special Newar puja I had hosted at the Mahakala place, the priest asked what aspirations or wishes i have. To which after a brief moment of thought I replied saying “to cultivate more faith towards Buddhisim” and his reply to my answer spoke to the way this Mahakala is perceived, which was “No ask for something real, like passing an exam or something” 52 . All of which speak to one of my main goals of this project which is to understand the significance of this Mahakala. Now, it should be kept in mind that this Mahakala is not only seen as this wish fulfilling jewel but also as an emergency contact who is sought after during times of peril or distress 53 . But while this is true for lay worshippers, scholars of course have a different opinion. For them the role of Mahakala goes beyond this idea of being a mundane wish fulfiller and an obstacle remover and takes onto a whole different level of identity where it is associated with different Buddhas and with tantric deities 54 . Although the literary sources I have read and heard from the scholars that I interviewed regarding the Mahakala were helpful in understanding the historical context and background information, for me the most helpful in terms of answering my driving question was that of the mythological accounts my interviewees provided. The most famous story that I heard from interviewees was that of the flying Mahakala and his association with the Vajracharya. Like the tibetan saying “each Valley has their own lama and each lama has their own tradition’ 55 . The mythological account of this Mahakala also varied in ways which has changed the significance of it. According to the current Vajracharya [ head priest] of Tundikhel Mahakala temple, it was the Shashvat Vajracharya who was sun basking after an oil massage in Tundikhel when he saw the Mahakala flying over the sky, after which through his miraculous powers pulled down the Mahakala and requested him to stay there. To which the Mahakala negotiated and agreed but to only visit during Saturdays and Tuesdays 56 .
From my interviewees, I gathered numerous accounts of the same storyline with subtle variations in minor details such as the one told by Nischal, a caretaker of the temple, in which the Vajracharya was washing his face when he witnessed the sight of Mahakala flying over 57 . After which he pinned down the Mahakala with his powers. Due to this legend being the primary historical account of this particular statue, generations in Kathmandu have embraced this unwavering belief in it, abstaining from asking any sort of questions. As an outsider, what initially struck me was the act of “pinning down” the Mahakala. It was difficult to digest a story of a Vajracharya forcefully pinning down a Mahakala especially given the head priest’s assertion that the Mahakala is a bodhisattva 58 . My curiosity was met with dead ends as the Vajracharya and lay worshippers who believed and stood by this account had no understanding of the precise ontological status of a Bodhisattva nor a Mahakala. As for the scholars that I interviewed regarding this topic had essentially the same “well that’s what they [Newars] believe” reply.
Regarding the identification of this specific two-armed Mahakala, within the Newar context, it is recognized as the "Adamantine hero," Bajrabir—the protector and guardian deity of the holy Swayambhunath Stupa and the Kathmandu Valley at large. However, this identification assumes an entirely different significance within the Tibetan Vajrayana context. As per Khenpo Konchok Gyaltsen, the head abbot of Sakya institute of Vajrayana, the Mahakala image at Tundikhel is identified as [tib] gur kyi gonpo [sans] Pañjaranātha Mahakala “lord of the pavilion”, the principal protector deity of sakya school of Tibetan Buddhism 59 . Gur kyi gonpo, a wisdom protector deity associated with the shri Hevajra cycle of Tantras, a lineage of dharmapalas which was first brought from India to Tibet by various masters such as Drogmi lotsawa, Bari Lotsawa, Tragtenpa, Mal lotsawa and the most influential tibetan master cum translator of all time, Lotsawa Rinchen zangpo 60 . Khenpo Konchok Gyaltsen also drew a connection between Tundikhel Mahakala and Gur Kyi Gonpo, emphasizing the resemblance in their respective iconographies.
[Bajrabir Mahakala statue at Tundikhel.
Left image sourced from [HAR]
The iconography of Mahakala at Tundikhel
The Mahakala at Tundikhel in Nepal is characterized by a distinctive iconography, featuring an aggressive stance. In his right hand, he wields a hooked knife or Vajra chopper [karpatra] over a skull bowl [kapal] held in his left hand, accompanied by a trident [Khatvanga] in the crook of his left arm. This iconography bears striking resemblance to the Panjaranahta Mahakala of the Sakya school, with some minor differences. Notably, in the Sakya depiction, the Mahakala holds a Gandhi stick, also known as a stick of emanation, across his forearms most of the time. Whereas the Tundikhel Mahakala does not feature a Gandhi stick but is instead depicted with a [staff] Khatvanga. Another variance lies in the number of eyes; the Pajaranatha Mahakala has three eyes, while in the case of the Tundikhel Mahakala, it becomes difficult determine whether or not there exists a third eye due to jewelry adornments and shields which obscures the entire forehead of the statue. The potential origins of these differences also raise intriguing questions related to historical events, such as the attempted destruction by Shamsuddin Ilyas Shah army in the 14th century, which may have influenced alterations in the iconography. Parts of the statue damaged during these events, like toes and nose were destroyed and had been covered with silver adornment. The red shield above the eyes may also trace back to this historical context.
Adding evidence to Khenpo Kunchok Gyaltsen's claim, a 14th-century prayer composed by Kathok Rigzin Tsewang Norbu and now proudly displayed at Tundikhel's shrine's main door provides a detailed description of Tundikhel Mahakala's iconography. The prayer mentions a skull necklace and a dagger in his right hand, while his left hand holds a skull bowl and the crook of his arm supports a khatvanga adorned with a gandhi stick bearing eight vajra spikes, precisely matching the iconography of the Panjarathna Mahakala's gandhi stick.
This narrative gains additional depth with the discovery of a painting portraying the Panjaranatha Mahakala influenced by Newar and Sakya aesthetics [Image below] 61 . [The image and annotations are sourced from the HAR website.]
According to Jeff Watt, the founder of the Himalayan Art Resource, this 16th century artwork portraying the central Mahakala figure and the retinue deities with Sakya composition is Pañjaranātha Mahakala of the Arya Nagarjuna tradition, originating “most likely” from the 50 chapter Mahakala tantra. 62 The distinct iconography of the central figure with its staff [khatvanga], and straight legs closely resemble the iconography of the Mahakala in Tundikhel. Moreever, the surrounding details of this image remains consistent with the data I accuired from my interviewees, such as the Sakya attributes of the retinue deities which surround the central image, indicating a close connection between the Mahakala and the Sakya school in general, as asserted by Khenpo Konchok Gyaltsen. Another noteworthy aspect of this artwork is the depiction of the eight great cemeteries which is also in accordance with the present day state of the Bajrabir Mahakala as it is believed to be surrounded by eight cemeteries or “charnel grounds'' 63 . 62 Jeff Watt personal interview 10/12/23
Adding substance to Khenpo Konchok Gyaltsen’s claim, insights from an interview with Lotsawa [translator] Punya Parajuli brings an interesting perspective as Punya ji considers the Newar legend of the Mahakala flying to Nepal to be the most reliable, drawing parallels to the belief in flying Panjarathna masks in Tibet known as bse.‘bag nakpo 64 . When I inquired about this belief to Khenpo konchok, he affirmed that it is rooted in the idea that Pañjaranātha Mahakala flew from India to Tibet. According to Khenpo, Lotsawa Rinchen Sangpo witnessed a flying Panjarantha Mahakala mask during his journey and, upon asking his teacher Shraddha.ka.ra.war.ma, was informed that the Mahakala had come to protect Tibet’s secret tantric teachings 65. Another noteworthy aspect involves the material of the Mahakala statue at Tundikhel. This material does not match the natural stone found in Kathmandu but closely resembles stone from India, particularly the Nalanda region 66 . This alignment with Pañjaranātha Mahakala's association with Bihar, a protector deity of the west side of Bodh Gaya, further strengthens the connection. Collectively, these findings, when considered together, raise the intriguing possibility that the Tundikhel Mahakala is indeed the Pañjaranātha Mahakala and might have arrived in Nepal in a manner similar to how it's said to have reached tibet-perhaps by flying.
Conclusion
In short, Nepal’s Buddhist history is notable for preserving Sanskrit texts and serving as a hub for Vajrayana Buddhism. Despite challenges, like Jayasthiti Malla’s enforcement of the caste system, the Vajrayana tradition in Nepal withstood all misfortune and obstacles and now stands as the most vibrant and alive tantric tradition. The Tundikhel Bajrabir Mahakala stands as an evidence and a symbol of this vibrant tradition as it carries immense historical and religious value, as well as legends such as the relation of the Mahakala and Tsangnyon Heruka. Fieldwork encounters, like the “visa office Mahakala,” and its identity as Pañjaranātha Mahakala in the Sakya tradition added further weight to its significance and highlighted the multifaceted roles to this deity. Despite the challenges in communicating with Newar priests about ontological aspects, I found that focusing on legends and myths to be more beneficial in understanding the collective consciousness surrounding the Mahakala. As scholars like Alfred Hellebrandt emphasize how mythology can be “helpful in understanding the shared experiences, psychology and culture of a group of people particularly focusing on their connection with deities and divine entities”. 67
Written by Yangsi Jamyang Dzhopa, the supposed reincarnate of Nyoshul Khen Jamyang Dorje. May it be virtuous and auspicious! Maṅgalam!
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26 Sonam Gyatso, Khenchen. Amazing Treasury: Brief Biographies of the 42 Patriarchs of Sakya. Sapan Translation and Research Foundation, 2017, p. 12
27 Lewis, Todd T. Popular Buddhist Texts from Nepal. SUNY Press, 2000, p. 114.
28 Mary Shepherd Slusser, Nepal Mandala (Princeton University Press, 1982), 292
29 Lewis, Todd T. Popular Buddhist Texts from Nepal. SUNY Press, 2000, p. 114.
30 Ibid.
31 Keith Dowman, Nepal Mandal (Vajra Publications, 2020), 122.
32 Ibid.
33 Huntington, John C. Circle of Bliss. Serindia Publications, 2003, p. 332
34 Lewis, Todd T. Popular Buddhist Texts from Nepal. SUNY Press, 2000, p. 110
35 Dowman, Keith, Nepal Mandal (Vajra Publications, 2020), 122.
36 Keith Dowman, Nepal Mandal (Vajra Publications, 2020), 157.
37 Huntington, John C. Circle of Bliss. Serindia Publications, 2003, p. 332
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