Jambhala Final

Mani Akunuri, 999001770
NEW433, April 23rd, 2015.

Jambhala
Buddhism seems to have always been a religion that advocate against extremes,
hence its namesake The Middle Way. It is a very practical school of thought that
understands the inherent complexity of phenomena. Paradoxically, it also understands the
simultaneously emptiness of phenomena. Perhaps this is best exemplified in the most
famous of sutras, the Heart Sutra; Form is emptiness; emptiness also is form. Emptiness
is no other than form; form is no other than emptiness. In the same way, feeling,
perception, formation, and consciousness are emptiness. Thus, Shariputra, all dharmas are
emptiness.1 Delving into all the meanings of the above section and the sutra as a whole
is a topic of another paper. I believe the reason for the paradoxes and relevant reflective
rhetoric is simply that the goal of Buddhist thought requires it to interact with and
detangle the layered convulsions of humans that in themselves are reflexive while at the
same time transcend all scales of measurement. After all, people themselves are creators
of their suffering and are then plagued by their suffering. It is a poisonous positive feedback loop that spirals us downward into dukkha via samsara. The original Buddha,
Siddhartha Gautama, was a sage who offered a way out of this samsaric wheel that all,
even the gods, are subject to. Upon realizing this Middle Way he is said to have achieved
enlightenment and became a Buddha. His teachings were the original foundation of the
Buddhist religion today. While the original core teachings remain, the nature of the
religion and the manner in which it is practiced has greatly evolved and adapted since its
1TranslationsoftheHeartSutra,DharmaNetInternational.
http://www.dharmanet.org/HeartSutra.htm
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inception about 3000 years ago. It now includes three primary sects, Theravada,
Mahayana, and Vajrayana. Vajrayana most commonly associated with Tibetan
Buddhism is the subject of the present paper. The Vajrayana tradition seems to
significantly deter from is predecessors in that it largely advocates the usage of what has
come to be know as tantric rituals where the devotee, in a meditative state, identifies with
specific deities in order to cultivate qualities of the deity in themselves2. Images of the
deities used for these rituals are rich with symbols and meaning relating to the original
Buddhist teachings for an escape from suffering. The present work will attempt to
analyze the meanings behind the various symbols present in Jambhala, the deity of wealth
and how they are designed to encourage teachings of wisdom, particularly that which
comes through non-attachment, and compassion.
The Five Dhyani Buddhas (also called the Five Wisdom Buddhas),
representations of the five qualities of primordial Buddhas (Adibuddha)3, are common in
the Vajrayana tradition. They are often found mandalas and are the origin from whom
many deities emanate. In the case of Jambhala, there is some confusion on the Dhyani
Buddha he emanates from, particularly because he was known and respected as deity
long before the Dhyani Buddhas were ushered into existence.4 The debate centers
around weather he is an emanation of Ratnasambhava - the Buddha focused on
developing equanimity and equality and destroying greed and pride - or Aksobya who
represents consciousness as an aspect of reality, and the wisdom of reflection.5
2BasicConceptsofTibetanBuddhism,PhilipandMarciaR.Lieberman.
http://library.brown.edu/cds/BuddhistTempleArt/buddhism2.html
3BasicConceptsofTibetanBuddhism
4BenoytoshBhattacharyya,TheIndianBuddhistIconography.(Calcutta:GhoshPrinting
HousePrivateLimited,1958),237.
5BenoytoshBhattacharyya,TheIndianBuddhistIconography.(Calcutta:GhoshPrinting
HousePrivateLimited,1958),179.
Personally, I believe Jambhala to be born of Ratnasambhava as his name literally means

jewel-born so it seems appropriate that the god of wealth be born of the Dhyani Buddha
born of jewels. Further, I believe, as this paper shall continue to explore, that the true
purpose of Jambhala is the vanquishing of the desire for material wealth (greed and pride)
and a shift of consciousness that earns for the cultivation of spiritual wealth (equanimity).
However, I can also appreciate how the fundamental change that occurs in this process is
in the territory of Aksobya as it requires a shift in consciousness and the way in which
one perceives and interacts with reality.
A copy of the specific thangka (a Tibetan Buddhist painting usually on cotton,
or silk appliqu) of Jambhala analyzed in this paper is attached on the final page. The
basic arrangement of Buddhist art is usually three-tiered and consists of upper, middle
and lower regions representing the heavens, earth and the human realm respectively.6 I
think it is best to perhaps start with the simplest of these, the human realm. This specific
thangka shows a row of offerings made to Jambhala as can be seen at the bottom of the
image. The offerings in this case are the seven primary possessions of the chakravartin
(universal ruler).7 In sequential order from the left: precious jewels, the square earrings of
the minister, a branch of red coral representing the precious wheel also representing the
queen, a rhinoceros horn, elephant tusks, flaming jewel, crossed insignia of the general, a
triple eyed gem enclosed in a trefoil gold mount (which represent the Three Jewels of
the Buddha, Dharma and Sangha vajra), round earrings of the chakravartin.8 These
6HongKongHeritageMuseum,TibetanTreasures:FromtheDonationoftheTsuiArt
Foundation.(HongKong:HongKongHeritageMuseum,2000),29.
7RobertBeer,TheHandbookofTibetanBuddhistSymbols.(Boston:Shambhala
Publishers,Inc.,2003),38.
4 Akunuri
offerings, while each as its own deep meaning, as a whole represent the denunciation and
surrender of even the universal ruler before Jambhala, indicating his power and
magnificence. Furthermore, when Siddharata Gauthama was born, Ashita, the great seer,
interpreted the symbols and marks on the baby boy to mean that he would either grow to
become a chakravartin or an enlightened Buddha.9 Considering Jambhala to be an
emanation of the one of the five Dhyani Buddhas who were themselves emanations of the
primordial Buddha, this could mean the recognition that the chakravartin route was
surrendered to the higher path of spiritual perfection and enlightenment.
I think it its fitting to next move to the heavenly realm of the image depicted in
blue, the color of the cosmos.10 In the blue sky above the deity, one can see images of the
moon and sun on the right and left corners of the image respectively. The Sun and Moon
represent important symbols of polarity. The golden sun represents the feminine aspect of
the teaching - wisdom, while the white moon representing the male aspect of the teaching
- method or compassion.11 The sun and moon disks painted in the upper sky of a thangka
to the left and right of a deity split the overall image into a masculine and feminine (right
and left) sides with the remaining symbols found on either side of the painting
symbolizing aspects of the correct method and wisdom respectively. Furthermore, the
moon is known in Buddhist thought to be the reflector of the source of light (sun), and
there in represents relative truth as opposed to the absolute truth represented by the sun.
This can be further expanded to identify the conventional and ultimate bodhichitta
10HongKongHeritageMuseum,TibetanTreasures:FromtheDonationoftheTsuiArt
Foundation.(HongKong:HongKongHeritageMuseum,2000)
respectively.12 Also, the crescent moon often symbolizes the increase of compassion and
the continual enrichment of the deitys enlightened attitude.
Interestingly, the western interpretations of the moon and sun symbols are quite
the opposite of Buddhist interpretations. In the west, the moon is often associated with
feminine characteristics (i.e. Artemis the Greek Goddess of the hunt) largely due to the
association of the lunar cycle to the physiological cycle of women.13 Darwin is even
known to have believed that animal life originated in deep ocean waters and that this
origin impacted a rhythm to life which has lasted for millions of years,14 he thus
believed the moon thus became the master of women.15 Correspondingly, the Sun has
long been associated with heroic and courageous force in the west. The hero sun is often
compared to the heavenly father.16 The relationship between the sun and moon is often
described as the relationship between the masculine solar passion and the feminine pale
and delicate light of the moon.17 Jung too saw the sun as symbol for the source of life and
of the ultimate wholeness of man.18 Though I would argue that Jung in that sense might
not have seen is as a display of masculinity as much as a display of the wholeness of
13J.E.Cirlot,ADictionaryofSymbols:TranslatedfromtheSpanishbyJackSage.
(NewYork:PhilosophicalLibrary,Inc.,1962),214.
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man in the broader sense of mankind. In such an interpretation the sun might be a
symbol of individuation, the Jungian equivalent of the Buddhist notion of enlightenment.
Further, what is even more interesting is that the Buddha in the earliest depictions was
not represented in a humanoid form but was depicted as the sun. In that way Jungian and
Buddhist symbolism might align although the two slightly differ from the more
traditional western interpretation of the symbols.
The central aspect of the image, the deity himself, there are many symbols
contained in his garments, what he is carrying, his posture and behavior. I think the best
way to describe the deity image as a whole before delving into the details of symbols, is
via the following Sadhana of the Ucchusma Jambhala which understands him to be an
Aksobhya emanation:
The worshipper should meditate himself as the god Ucchusma, who
appears as a child of five years and is dwarfish. He stands on a double
lotus on the moon, is decked in ornaments of snakes and has a jewelled
headdress. He stands in the Pratyalidha attitude and presses with this right
leg the forehead of the sleeping Dhanada of yellow colour with this mouth
vomiting out jewels. His left leg rests on the two legs (of Dhanada). He is
nude, and his mumbrum virile is pointed upwards. He has a protruding
belly, and has his eyes fixed on the Kapala full of blood which he carries
in his right hand against the chest. He holds in his left hand the mongoose
vomiting out jewels, on his left thigh. His ears are large and unpierced and
he has a crescent on his crown. His face is distorted with bare fangs, and
his three eyes are red and round. His brows are distorted, and his brown
hair rises upwards. He bears on his crown the image of Aksobhya of blue
color displaying the earth-touching attitude.19
Moving from the bottom up, Jambhala Is depicted as standing on an eight-petaled
double lotus. The lotus itself is known to be a symbol for purity and renunciation, and the
19BenoytoshBhattacharyya,TheIndianBuddhistIconography.(Calcutta:Ghosh
PrintingHousePrivateLimited,1958),179.
eight petals representing the eight fold path.20 It represents the blossoming of wholesome
activities performed independently of the cycle of suffering.21 The fact that Jambhala
stands on one represents his divine origin and his innately perfect and pure nature. I
believe the lotus can further be seen as a barrier almost guarding the divine perfection of
the deity from the corrupted sufferings of earth. It allows the divine to manifest in the
defiled cyclic realm yet remain detached from the cycle. Further, the lotus is also known
to connote the divine womb or vagina for its attributes of being soft pink and open which
contrasts with the Vajra which is synonymous with the male penis for being hard and
penetrative. The union between the Vajra and Padma (Sanskrit term for lotus) is a symbol
for the union of form and emptiness, or skilful means and wisdom.22 Which again ties
into the moon and sun symbols on the heavenly realm of the image. Interestingly, as the
Sadhana previously depicted his mumbrum virile [phallus] is pointed upwards.23
The next most discernible symbol is the naga (serpent) Jambhala adorns around
his neck. The nagas are known to be the underworld guardians of treasures and concealed
teachings.24 They are also known to cause certain illnesses (including leprosy, cancer, and
kidney problems) and are responsible for controlling the weather causing droughts by
withholding rain when offended by pollution of their rivers or lakes. Correspondingly,
20MeherMcArthur,ReadingBuddhistArt:AnIllustratedGuidetoBuddhistSignsand
Symbols.(London,Thames&HudsonLtd,2002.),48.
Publishers,Inc.,2003)7.
23SushamaLohia,LalitavajrasManualofBuddhistIconography.(NewDelhi:Pardeep
KumarGoel,1944)1509.
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they may also release rain when properly propitiated.25 They are believed to have
delivered to Nagarjuna the Prajna-paramita Sutra26 which goes on to become a turning
point in Buddhist history instigating the creation of the Mahayana tradition and
subsequently the Vajrayana tradition. There are some overlaps in the symbolic
connotations of the snake in Buddhist tradition and western tradition. Bayley suggests
that the snake, due to the similarity of its sinuous shape to the waves, may be a symbol
for the wisdom and mysteries of the deep.27 Further, Philo of Alexandria believed when
the snake sheds its skin, it likewise shakes off old age.28 He wrote about its powers to
both kill and cure, connoting positive and negative powers that rule the world. Jung
pointed out that Gnostics related it to the spinal cord and spinal marrow, an excellent
image of the way the unconscious expresses itself suddenly and unexpectedly with its
peremptory and terrible incursions.29 He adds that, psychologically, the snake is a
symptom of anguish expressive of abnormal stirrings in unconscious, that is, of a
reactivation of its destructive potentiality. Jung also talked about the custom of
representing transformation and renovation rituals through figures of snakes is a well
documented archetype. He suggests that the Egyptian Uraeus (upright form of Egyptian
cobra used as a symbol of sovereignty, royalty, deity, and divine authority)30 is the visible
(NewYork:PhilosophicalLibrary,Inc.,1962)285.
expression of the Kundalini on a higher plane (in the practice of Kundalini yoga the
snake is depicted as uncoiling and move up through the chakras allowing for the healing
and spiritual growth).
Jambhala is shown to be holding a jewel-producing mongoose in his left hand, as
is characteristic of most wealth deities. This attribute of the mongoose likely has a
historic attribute in the Asian custom using a mongoose skin as a purse or treasure bag
from which coins and precious stones can be expelled via the creatures mouth.31 The
mongoose being held in Jambhalas hand emits jewels when he cares to squeeze its sides
- this signifies the generosity of the deity and its tendency to grant desires, treasures and
accomplishments. Interestingly, the mongoose, for its treasure-expelling tendency, is a
traditional enemy of the nagas.32 Considering the serpent is draped around Jambhalas
shoulders and the mongoose held in his hand, I would think that this symbolizes his
victory over the nagas and that he possess all their treasures and will liberally distribute
them. Furthermore, the mongoose is held in his left hand, the feminine side of the image
as represented by the sun in that corner. I think this aligns in that the spiritual wealth
readily distributed by the mongoose is reflective of the deep wisdom contained in the
Buddhist teachings.
In his right hand, Jambhala is shown to be holding a kapala (skull-cap) filled with
flowing blood. The skull-cap serves as an offering bowel carried by yidams
(manifestations of the Buddha or enlightened mind).33 The cranial fissures of the skullcap
31SushamaLohia,LalitavajrasManualofBuddhistIconography.(NewDelhi:Pardeep
KumarGoel,1944)1511.
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depicted in angular red zigzag lines and divide the kapala into five cranial plates
representing the Five Buddhas.34 It is held in Jambhalas right hand, which aligns with the
moon in the right upper corner representing the attributes of method or compassion. The
actual blood in the kapala may warrant the description of being vajra-marked, as it is the
blood of the four maras.35 I personally find this to be most disturbing aspect of the image.
I initially thought it to be a simple bowl but upon a little researching I came to know it
was in fact a skullcap. I find it oddly representative of a cannibalistic attitude. Which in a
way is an accurate representation of Jambhala I suppose in that he may conquer humans
drink Maras blood for breakfast if he is so inclined. Obviously being an emanation of
the Adibuddha (the primordial Buddha) that even the gods bow to he does indeed have
that power. The skull, broadly speaking, I feel is an emblem of the mortality of man, and
perhaps by extension our the impermanence and naivety of our knowledge and the vanity
of the pride that comes with that. It is largely seen in literature as a symbol for mortality
most famously perhaps in Hamlet and Faust. What is further chilling, though I am unsure
why, is the fact that Jambhala holds the blood-filled skull-cap so close to his chest.
The deity is shown to be wearing a bodhichitta crown on top of his head. It is said
that the jeweled crown was originally given to the Arhat Rahula who miraculously
received it from the gods for the teachings he gave in their realm.36 Rahula, the only sun
of the historic Gautama Buddha, was recognized as the most skilled disciple in the three
higher teachings (trishiksha) of ethics, meditation, and wisdom. It has since been
adorned by high-ranking bodhichitta to symbolize how close they are to the Buddha-state
and thus their prince-like status.37 In western symbolism, the meaning of the crow can be
derived from that of the head. Furthermore, the crown does not merely surmount the top
of the human being, but it rises above and therefore suggests an idea of pre-eminence.
Jung believed that the radiant crown is the symbol par excellence of reaching the highest
goal in evolution: for he who conquers himself wins the crown of eternal life.38 In this
regard the western interpretations largely overlap with Buddhist ones. The idea of the
transcendence of the human body pointing to a sort of pre-eminence is in line with the
bodhichitta prices who are on the verge of transcending the worldly cycle. They are on
the cusp of the eternity that exists in non-existence.
The jewels that surround Jambhala hold some significance as well. Just as the
precious jewel gives the Universal King the power to see and obtain everything, the
Buddha has the power to see and understand all things.39 In the context of Jambhala, it
may further represent the idea that worshipers come to him for material wealth, which he
provides but not independently of spiritual wealth. As mentioned before the three jewels
(one of the offerings at the bottom of the image) represent the three refuges that the
practitioner vows to take the Buddha, the dharma, and the sangha.
In western symbolism, jewels signify spiritual truths. There is an interesting
relationship between the jewel and the snake. Baron Guiraud, in La Philosophie de
lhistoire, comments that, when Lucifer fell, angelic light was given corporeal form in
39MeherMcArthur,ReadingBuddhistArt:AnIllustratedGuidetoBuddhistSignsand
Symbols.(London,Thames&HudsonLtd,2002.)49.
12 Akunuri
the shinning stars and glittering gems.40 His angelic light, which is his source of power
and signifies his holy pre-eminence over humans takes the form of stars and gems on
earth as he falls from heaven to hell. I would interpret this as the spirituality, spiritual
understanding and spiritual truths embodied in his angelic form were distributed as gems
on earth as he fell. Lucifer later takes the form of a snake, a guardian of the treasures,
temps Eve to take a bite of an apple from the tree of knowledge, thereby willingly
offering humans the gems guarded by the serpent. This act had thus changed the course
of human history leading to Eve and Adams expulsion from the garden and so forth.
Many millennia later the snake (nagas) again offer their treasures to Nagarjuna in the
form of the Prajnaparamita sutras which then formed a central part of the Mahayana
tradition. The overarching parallel here seems to be that snakes allow for the release of
their gems to humankind as and when they deem appropriate, and there by effectively
change the course of human history with that knowledge. To take this a step further and
apply it to the present depiction of Jambhala; as emanation of the primordial Buddha,
Jambhala has conquered the nagas and drapes them around his shoulder while he freely
distributes the gems (via the mongoose) they have guarded for so long. Thus provides
perfect wisdom for all with his left side the side powered by the feminine wisdom of
the sun. While with his right, powered by the masculine compassion of the moon, he
offers us a method of realizing ones impermanence, abiding by the Five Dhyani
Buddhas, and offering Maras blood (thereby conquering him). As he does this, he stands
in Pratyalidha (warrior stance) crushing Dhanada (Kubera) the Hindu god of wealth. This
echoes Jungian interpretations of the dragon archetype where the dragon (an animal
derived from the serpent) is guarding a treasure and the heroic knight conquers the
dragon and distributes its treasures. Jambhala here is our hero and will crush our pride
and greed and offer us liberation.
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Jambhala Final

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Mani Akunuri, 999001770

NEW433, April 23rd, 2015.

Personally, I believe Jambhala to be born of Ratnasambhava as his name literally means

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