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Art and text 2007-11 Jayarava except where noted image of Vairocana name of Vairocana in Sidda
vai ro ca na
Vairocana is the white Buddha at the centre of the Mandala. He features in Carya and Yoga class tantras. In the Shingon school he is considered to be a personification of the Dharmakya and is usually refered to as Mahvairocana (Dainichi Nyorai, ) - a name which comes from the Mahvairocana Abhisabodhi Tantra. Tantric discourses are traditionally said to be have been taught by Mahvairocana rather than the historical Buddha akyamuni.
The image shown is a kind of generic Vairocana depicted in bhiku's robes with his hands in the Dharmacakra, or Wheel turning mudra - which alludes to his teaching of the Dharma which is poetically referred to as "turning the wheel of the Dharma".
Shingon recognises two main forms of Mahvairocana: in the Garbhadhatu mandala he is golden in colour, has one face and displays the dhyana mudra with a golden dharmacakra sitting in his hands; in the Vajradhatu mandala he is white in colour, has four faces and displays the Bodhyagr mudra (Japanese: Chiken-in). mandala of the jinas position in mandala Colour Family Mudra Wisdom Emblem white Tathgata or Buddha wheel-turning wisdom of the Dharmadhatu Dharmacakra kadhtvvar center
Consort/praj
Seed Syllables
In the Shingon school a distinction is made between Mahvairocana in the Garbhadhtu mandala and the Vajradhtu mandala, associated with the Mahvairocana Stra and the Vajraekhara Stra respectively. The seed syllable of the former is the simple short a, though sometimes it is elaborated as - the most elaborate form a can take. In the Vajradhatu mandala the seed syllable is va, also sometimes elabotared as v. Garbhadhtu Mandala The 'a' seed syllable in Siddham script a in Siddha script. Seed Syllable 'a' in the Tibetan Uchen script a in Tibetan Uchen script. The 'a' seed syllable in Siddham script in Siddha Vajradhtu Mandala The 'vam' seed syllable in Siddham script va Siddha script. The 'vamh' seed syllable in Siddham script v Siddha script. Mantra
Vairocana sits at the centre of the Mandala of the Five Jinas. He plays a very important role in Shingon Buddhism where he is known as Mahhavairocana. There are a number of mantras associated with Vairocana. Basic Mantra Siddha
the Short Vairocana mantra in the Siddham script Tibetan - Uchen Vairocana mantra in the Tibetan Uchen script Transliteration
o vai ro ca na h
In Shingon there is another important mantra which links Mahvairocana to the six elements - the five letters here representing the material elements, and Mahvairocana himself represents the element of consciousness. The idea is that the whole of the universe is a manifestation of Mahvairocana all forms of the body of Mahvairocana; all sounds are the voice of Mahvairocana; and all mental activity are the mind of Mahvairocana. The five syllable mantra a vi ra hum kha which associated with Mahavairocana in Shingon Buddhism Transliteration
A late Shingon mantra associated with Vairocana is known as the Mantra of Light or in Japanese as kmy shingon, or . It features in the Amoghapakalparja-stra and is often written in a circle. Below is calligraphy by Jayarava. On the right is calligraphy by Kkai using the Chinese brush style.* Kkai heads the mantra with va, the seed syallble of Vairocana in the Vajradhatu Mandala.
I'm unsure about the reason for the subsitution of putra for mudra. Notes
Praise be to the flawless, all-pervasive illumination of the great mudra (the seal of the Buddha). Turn over to me the jewel, lotus, and radiant light according to Mark Unno or Infallible brilliance of the great mudra! Creating the radiance of the Jewel and the Lotus - according to John Stevens
pravarttaya is unclear (turn around? creating? evolve?) and I'm not sure of the root. The dictionary has several possibilities. Pravartya = to be excited to activity. Pravtta = round, rotund; circulated; issued from, resulted, arisen; come back, returned; acting proceeding, etc. Mark Unno seems to derive it from parivarta (revolving, revolution) but this seems less likely to me. Shingon Buddhist International has "evolve" and given they represent the tradition I have adopted their translation.
* The image of Kkai's calligraphy is originally from a collection reproduced in five large concertina fascicles by the Japanese monk S-gen in 1837 under the title of Ashara-j. S-gen traced fine examples of Siddha calligraphy and then inked in the middle, thereby creating reasonably accurate facsimilies. The Ashara-j was republished as Sanskrit bjas and mantras in Japan edited by Raghu Vira and Lokesh Chandra (New Delhi : International Academy of Indian Culture, 1965). It is reproduced in R.H. Van Gulik. Siddham : An Essay on the History of Sanskrit Studies in China and Japan (New Delhi, Jayyed Press, 1981), p.183.
For more information about the role of Mahvairocana according to the Shingon tradition, and the 'avira' mantra read: Book cover of Kukai's Major Works by Yoshito Hakeda Kukai - major works
For more information about the Mantra of Light read: Shingon Refractions Shingon Refractions by Mark Unno
For general information about Vairocana read: Book cover of Meeting the Buddhas Meeting the Buddhas by Vessantara