Essay: Marichi, Shingon & Tibetan Buddhist Comparison
Marichi IconographyMarichi, also known as Marishi-Ten or Marishiten in Japanese, and Özer Chenma in Tibetan, is a deity revered in both Shingon Buddhism and Tibetan Buddhism. While her representation and functions in both traditions share some similarities, there are also differences due to cultural and historical contexts.
Videos:
- Marichi: Goddess of the Dawn
- Sow Faced Deities
In the Shingon tradition, Marichi is often depicted seated on a lotus, or on a boar, her traditional vehicle. She may be depicted with multiple faces and arms. One of her faces is often that of a boar. The weapons she carries, such as the vajra, sword, or arrow, represent her warrior aspect.
In Tibetan Buddhism, Marichi's depictions may also vary. She is often shown as a red or golden goddess with several arms, some of which hold weapons like a a wrathful gesture together with a lasso, skullcup, branch of the ashoka tree, Brahma's head, a bow and a trident. She might be shown riding a chariot pulled by seven pigs, or seated on a lotus.
Colours:
- Red Forms (all)
- Yellow Forms (all)
- Orange
- White
- Others...
In both traditions, Marichi is considered a deity that removes obstacles and its tantric metaphor is light and sometimes referred to as the Goddess of the Dawn. The light is overcoming darkness, thus the association with the sun. In Shingon Buddhism, she is often invoked particularly for safe travel and a deity propagated among the warrior class.
In Tibetan Buddhism, Marichi is also viewed as a remover of obstacles, particularly for travelers and those in dangerous situations. She is invoked for her power to dispel darkness and illusion and especially practiced to prevent malicious gossip.
Marichi is believed to have roots in ancient Indian religious traditions, and she was later incorporated into Buddhism. Her role and representation in Buddhism evolved as the religion spread to different regions, including Tibet and Japan. She is regarded as a female emanation of Dainichi-Nyorai (Vairochana Buddha), the universal Buddha, and her origin is also believed by some to stem from the Zoroastrian goddess Ushas. Ushas being the goddess of the dawn is said to be the inspiration or origin myth associated with Marichi as they have the same function.
In Japan, the worship of Marichi has been influenced over time by indigenous Shinto beliefs, and she has been syncretized with native Japanese deities. In the Heian period (794-1185), she was particularly popular among warriors, who prayed to her for victory in battle and the power of invisibility. Among its venerators was Minamoto Yoritomo, a renowned military strategist and the first shōgun of the Kamakura era, spanning from 1185 to 1332. It is said that he commissioned a statue of Marichi to shield him during conflicts. Presently, it is claimed that this statue is housed in the Kantsūji Temple located in Tokyo's Shinjuku ward, as per the source Edo Meisho Zue.
The widespread worship of Marichi reached its apex during the Edo era, but experienced a downturn afterwards. This decline was largely due to the dissolution of the feudal system, the eradication of the samurai class, and the growing reverence for the goddess Benzaiten (Sarasvati). In recent times, Benzaiten (Sarasvati) has largely overtaken Marichi as a focus of devotion.
In Tibet, Marichi's worship in some instances has been influenced by the local culture and religious beliefs. She is part of a pantheon of deities in Vajrayana Buddhism, which includes protector deities and wrathful deities. Like in Japan, Marichi has been invoked for protection, particularly by those undertaking journeys or in dangerous situations.
Overall, while there are similarities in the depiction and role of Marichi in Shingon Buddhism and Tibetan Buddhism, there are also differences, reflecting the adaptation and evolution of Buddhist beliefs in different cultural contexts.
Shinzo Shiratori, 6-2023
