The Nīlakaṇṭha Dhāraṇī, also known as the Mahākaruṇā(-citta) Dhāraṇī, Mahākaruṇika Dhāraṇī[1] or Great Compassion Dhāraṇī / Mantra (Chinese: 大悲咒, Dàbēi zhòu; Japanese: 大悲心陀羅尼, Daihishin darani or 大悲呪, Daihi shu; Vietnamese: Chú đại bi or Đại bi tâm đà la ni; Korean: 신묘장구대다라니 (Hanja: 神妙章句大陀羅尼), Sinmyo janggu daedarani), is a Mahayana Buddhistdhāraṇī associated with the bodhisattvaAvalokiteśvara.
The dhāraṇī is thought to have originally been a recitation of names and attributes of Harihara (a composite form of the Hindu gods Vishnu and Shiva; Nīlakaṇṭha 'the blue-necked one' is a title of Shiva) said to have been recited by Avalokiteśvara, who was sometimes portrayed as introducing popular non-Buddhist deities (e.g. Hayagriva, Cundi) into the Buddhist pantheon by reciting their dhāraṇīs. Over time, these deities became considered to be the various forms or incarnations of Avalokiteśvara, who was described in texts such as the Lotus Sutra as manifesting himself in different forms according to the needs of different individuals; the dhāraṇī thus came to be considered as addressed to Avalokiteśvara as Nīlakaṇṭha, now understood to be a manifestation of the bodhisattva. From Nīlakaṇṭha Avalokiteśvara, this particular dhāraṇī eventually became associated with another of Avalokiteśvara's forms, namely the thousand-armed (sahasra-bhuja) one, and became attached to Buddhist texts concerning the thousand-armed Avalokiteśvara.
Different versions of this dhāraṇī, of varying length, exist; the shorter version, as transliterated into Chinese characters by Indian monk Bhagavaddharma in the 7th century, enjoys a high degree of popularity in East AsianMahayana Buddhism, especially in Chinese Buddhism, comparable to that of the six-syllable mantraOṃ maṇi padme hūṃ, which is also synonymous with Avalokiteśvara. It is often used for protection or purification. In Korea, copies of the dhāraṇī are hung inside homes to bring auspiciousness. In Japan, it is especially associated with Zen, being revered and recited in Zen schools such as Sōtō or Rinzai.
Various different recensions of this dhāraṇī are in existence, which can be classified into two main versions: the shorter text and the longer text.
Chinese
The text currently considered to be the standard in most of East Asia is the shorter version, specifically the one found in the so-called 'Sūtra of the Vast, Perfect, Unimpeded Great-Compassionate Heart of the Thousand-Handed Thousand-Eyed Bodhisattva Avalokitasvara's Dhāraṇī' (Chinese: 千手千眼觀世音菩薩廣大圓滿無礙大悲心陀羅尼經; pinyin: Qiānshǒu qiānyǎn Guānshìyīn púsà guǎngdà yuánmǎn wúài dàbēixīn tuóluóní jīng; T.1060, K. 0294) translated by a monk from western India named Bhagavaddharma (Chinese: 伽梵達摩; pinyin: Jiāfàndámó, birth and death dates unknown) between 650 and 660 CE.[2]
Twelve scrolls of Nīlakaṇṭha Lokeśvara texts in Chinese were found at Dunhuang along the Silk Road in today's Gansu province of China.[3] One of the texts contains a colophon at the end: "Translated at Khotan by the śramaṇa Bhagavaddharma of Western India" (西天竺伽梵達摩沙門於于闐譯).[2] The milieu of this transliteration is evident from Bhagavaddharma's rendering of the word Nīlakaṇṭha as 'Narakindi' (Chinese: 那囉謹墀; pinyin: Nàluōjǐnchí), a Central Asian form of the Sanskrit word.[4]
Other notable Chinese versions of the dhāraṇī include:
Two versions by or attributed to esoteric Buddhist teacher Vajrabodhi: (1) 'Copy of the Vast, Perfect, Unimpeded Great-Compassionate Heart of the Thousand-Handed Thousand-Eyed Bodhisattva Avalokitasvara's Dhāraṇī' (Chinese: 千手千眼觀自在菩薩廣大圓滿無礙大悲心陀羅尼咒本; pinyin: Qiānshǒu qiānyǎn Guānzìzài púsà guǎngdà yuánmǎn wúài dàbēixīn tuóluóní zhòu běn; T. 1061) and (2) 'Ritual Recitation Manual on the Vajraśekhara Yoga on the Great Compassionate King Nīlakaṇṭha Avalokiteśvara' (Chinese: 金剛頂瑜伽青頸大悲王觀自在念誦儀軌; pinyin: Jīngāngdǐng yújiā qīngjǐng dàbēiwáng Guānzìzài niànsòng yí guǐ; T. 1112) The former contains a Chinese transliteration of the dhāraṇī and its corresponding Sanskrit version (in Siddhaṃ script), with the latter being an esoteric ritual manual.[5]
Three versions of the dhāraṇī proper by or attributed to Vajrabodhi's disciple Amoghavajra: (1) The Thousand-Handed Thousand-Eyed Bodhisattva Avalokitasvara's Great-Compassionate Heart Dhāraṇī (Chinese: 千手千眼觀世音菩薩大悲心陀羅尼; pinyin: Qiānshǒu qiānyǎn Guānshìyīn púsà dàbēixīn tuóluóní; T. 1064) is an extract from Bhagavaddharma's version, with interlinear glosses and an accompanying explanation of the forty hands (forty standing for the full number of one thousand) of the Thousand-armed Avalokiteśvara, each with a mantra of its own; (2) Sutra of the Bodhisattva Nīlakaṇṭha Avalokiteśvara's Heart Dhāraṇī (Chinese: 青頸觀自在菩薩心陀羅尼經; pinyin: Qīngjǐng Guānzìzài púsà xīn tuóluóní jīng; T. 1111) is a new transliteration, followed by a description of the iconography of Nīlakaṇṭha-Avalokiteśvara and his particular mudra; and (3) The Greatly Merciful (and) Greatly Compassionate Bodhisattva Avalokitasvara-lokeśvararāja's Vast, Perfect, Unimpeded Great-Compassionate Heart of Nīlakaṇṭheśvara Dharani (Chinese: 大慈大悲救苦觀世音自在王菩薩廣大圓滿無礙自在青頸大悲心陀羅尼; pinyin: Dàcí dàbēi jiùkǔ Guānshìyīn zìzàiwáng púsà guǎngdà yuánmǎn wúài zìzài qīngjǐng dàbēixīn tuóluóní; T. 1113b) is a Sanskrit (Siddhaṃ)-Chinese interlinear version with glosses.[2]
A version of the dhāraṇī proper by 14th century by Dhyānabhadra (Chinese: 指空; pinyin: Zhǐkōng, died 1363) with the title Dhāraṇī of the Vast, Perfect, Unimpeded Great-Compassionate Heart of the Bodhisattva Avalokiteśvara (Chinese: 觀自在菩薩廣大圓滿無礙大悲心陀羅尼; pinyin: Guānzìzài púsà guǎngdà yuánmǎn wúài dàbēixīn tuóluóní; T. 1113a)[6] Unlike the aforementioned versions, Dhyānabhadra's text is based on the longer form of the dhāraṇī.
In addition, there are texts bearing the "Thousand-armed Avalokiteśvara" title, but which feature a completely different dhāraṇī within the text.
Two translations by a monk named Zhitōng (智通) made between 627 and 649, both entitled Sūtra of the Thousand-Eyed Thousand-Armed Bodhisattva Avalokitasvara's Mystic Dhāraṇī (Chinese: 千眼千臂觀世音菩薩陀羅尼神咒經; pinyin: Qiānyǎn qiānbì Guānshìyīn púsà tuóluóní shénzhòu jīng; T. 1057a and 1057b, Nj. 318) This is the earliest of the Chinese "Thousand-armed Avalokiteśvara" sutras. Despite the title, the sutra's dhāraṇī is completely different from the Nīlakaṇṭha dhāraṇī found in other versions.[7]
A translation made by north Indian monk Bodhiruci in 709 entitled Sūtra of the Thousand-Handed Thousand-Eyed Bodhisattva-mother Avalokitasvara's Dhāraṇī-body (Chinese: 千手千眼觀世音菩薩姥陀羅尼身經; pinyin: Qiānshǒu qiānyǎn Guānshìyīn púsàmǔ tuóluóní shēn jīng; T. 1058, Nj. 319)[8] Bodhiruci's version contains the same dhāraṇī as Zhitōng's.
Tibetan
At least three versions of the longer form of the dhāraṇī exist in Tibetan. One was made in the middle of the 9th century by a translator named Chödrup[9] (Wylie: Chos grub; Chinese: 法成 Fǎchéng) supposedly from Chinese, but which does not correspond exactly to any Chinese version, being more akin to that of Vajrabodhi.[10] Among the various versions of the dhāraṇī, it is the longest and fullest.[11] Preceding Chödrup is an anonymous translation of the same text.[10]
A third version was made by Changkya Rölpé Dorjé (Wylie: Lcang skya Rol pa'i Rdo rje) in the 18th century. While claimed to be a reconstruction of Zhitōng's text using a Tibetan version as a base, Changkya Rölpé Dorjé's text actually completely follows the Tibetan readings, with significant differences from Chödrup's version in a number of places, rather than Zhitōng's.[12]
Others
A manuscript fragment (currently in the British Library) dating from around the 8th century containing the longer version of the dhāraṇī (Or.8212/175) in both late Brahmi and Sogdian scripts was discovered by Sir Aurel Stein in the Mogao Caves at Dunhuang and published by Robert Gauthiot and Louis de La Vallée-Poussin in 1912.[13][14][15][16][17] The dhāraṇī's title is given in this manuscript as 1 LPw δsty ʾʾryʾβṛʾwkδʾyšβr nyṛknt nʾm tʾrny "the dhāraṇī of the names of Āryāvalokiteśvara-Nīlakaṇṭha with a thousand hands."[15][17] The text shows a very close affinity to that found in Vajrabodhi's T. 1061 text.[15] The dhāraṇī is followed by a short, unidentified mantra named wyspw ʾʾγδʾk δβrʾynʾk δrzyʾwr ptsrwm "hṛdaya mantra fulfilling all the wishes."[17]
Background
Nīlakaṇṭha-lokeśvara
According to author Lokesh Chandra (1988), the dhāraṇī in its original form was a recitation of the names of the deity (lokeśvara) Nīlakaṇṭha recited by the bodhisattva Avalokiteśvara:[4] "Avalokiteśvara was responsible for introducing popular (loka) deities (iśvara) into the Buddhist pantheon by pronouncing their dhāraṇīs which averted evils to the person who obtained his wishes as soon as he recited it (paṭhita-siddhaḥ, Dutt: text 44)."[18] In Vajrabodhi's longer version (T. 1061), the dhāraṇī is explicitly referred to as Āryāvalokiteśvara-bhāṣitaṃ "uttered (bhāṣita) by noble (ārya) Avalokiteśvara;" at this stage, Avalokiteśvara is portrayed as pronouncing the dhāraṇī, but is not (yet) identified with Nīlakaṇṭha.[19]
As late as the 15th century, the tradition knew at least that Avalokiteśvara is the dhāraṇī's locutor, as is clear from a Chinese manual of the liturgical service of the thousand-armed Avalokiteśvara, presented to the Oriental scholar Samuel Beal by the monks of Hoi Tong Monastery (a.k.a. Hai Chwang Temple) on Henan Island.[20][21] Its preface, authored by the Ming emperor Yongle, says thus:
It is reported by Kwan Tseu Tsai Bodhisattva, prompted by her great compassionate heart has engaged herself by a great oath to enter into every one of the innumerable worlds, and bring deliverance to all creatures who inhabit them.
For this purpose she has enunciated the Divine sentences which follow, if properly recited, will render all creatures exempt from the causes of sorrow, and by removing them, render them capable of attaining Supreme Reason.[20]
During the process of transmission, however, Nīlakaṇṭha became increasingly identified with Avalokiteśvara, so that the dhāraṇī eventually became understood as being addressed to Avalokiteśvara as Nīlakaṇṭha, now considered to be one of Avalokiteśvara's various forms or manifestations - most of whom were themselves originally folk deities who were assimilated into Avalokiteśvara upon being integrated into Buddhist belief and practice (e.g. Hayagriva, Cundi, Tara or Mazu; cf. also Shinbutsu-shūgō).[22][23]
A depiction of Vishnu (Vaikuntha Chaturmurti) showing three faces: lion, human, and boar.
The dhāraṇī proper contains a number of titles associated with the Hindu gods Vishnu (e.g. Hare, Narasiṃha-mukha, gadā- / cakra- / padma-hastā 'the wielder of the mace / discus / lotus') and Shiva (e.g. Nīlakaṇṭha 'the blue-necked one', Śaṅkara, kṛṣṇa-sarpopavita 'the one who has a black serpent as a sacred thread'),[1] suggesting that Nīlakaṇṭha was in origin Harihara - a fusion of Vishnu (Hari) and Shiva (Hara) - assimilated into Buddhism.[24][1][25][26] This is more explicit in the longer version of the dhāraṇī, where Nīlakaṇṭha is invoked with more names and epithets associated with the two gods such as Tripūra-dahaneśvara 'the Lord (Īśvara) who destroyed / burnt down Tripūra' (Shiva) or Padmanābha 'lotus-naveled' (Vishnu),[27] as well as a short description of the iconography of Nīlakaṇṭha Avalokiteśvara in Amoghavajra's version (T. 1111), which combines elements from depictions of Shiva and Vishnu.[28]
Nīlakaṇṭha-Avalokiteśvara (青頸觀自在), from the Besson-zakki, a Japanese (Heian period) compendium of Buddhist iconography. Note the differences between this particular depiction and the description from Amoghavajra: while the four attributes - conch, mace/rod, discus/wheel and lotus - are depicted, the boar and lion faces, the garments of animal skins, and the serpent upavita are omitted.
Standing on an eight-petaled lotus, the effulgence of necklaces, armlets and ornaments adorn his body; his sacred thread hangs diagonally from the left shoulder downward."[29][30]
The status of Shiva and Vishnu in the dhāraṇī follows a similar pattern to the one identified in the Kāraṇḍavyūha Sūtra (4th-5th century CE): the two gods are repeatedly invoked one after the other, indicating that they stand in a "complementary" relationship to each other. At the same time, however, Shiva is portrayed as the dominant of the two.[26]
The thousand-armed Avalokiteśvara
The first of many images of the thousand-armed (sahasra-bhuja) Avalokiteśvara - a form of the bodhisattva that would subsequently become popular in East Asia - to appear in China was presented to the Tang Emperor by a monk from central India named Guptadeva(?) (瞿多提婆, pinyin: Qúduōtípó) somewhere between 618 and 626 CE.[31][32][33][34] While as of yet, no trace of this iconographic depiction has been found within India itself, the depiction must have had an Indian origin: an image of this type was brought to China by an Indian monk, and all the Chinese texts on the thousand-handed Avalokiteśvara are translations from Sanskrit or Pali and contain Sanskrit hymns in transliteration.[31][35] One possibility is that this form of Avalokiteśvara had its origins in Kashmir,[32] whence the Kāraṇḍavyūha Sūtra may also have originated.[36] From Kashmir, the "thousandfold" Avalokiteśvara might have spread northward, but not southward into the Indian mainland, which could explain the dearth of Indian artifacts connected to this depiction.[32]
A 10th-11th century statue of Avalokiteśvara from the western Himayalan region, with the skin of a black antelope (kṛṣṇājina) - originally an attribute of Shiva[37] - slung over his left shoulder.
A thousand limbs are integral to the Indian tradition: the Puruṣa sūkta of the Ṛgveda, for instance, describes the cosmic man Puruṣa as having "a thousand heads ... a thousand eyes, a thousand feet."[38][39] Notably, the Kāraṇḍavyūha Sūtra contains a Buddhist adaptation of the Vedic Puruṣa myth, with Avalokiteśvara as the all-pervasive cosmic being from whose body springs various gods:[40]
The epithets sahasra-bāhu ('thousand-armed') or sahasra-bhuja ('thousand-handed') commonly appear in Indian literature from the Ṛgveda onwards applied to various personages (e.g. Kartavirya Arjuna), including the gods Shiva and Vishnu.[39] It has been suggested that the thousand arms of Avalokiteśvara is another example of an attribute of Shiva being assimilated into the bodhisattva, with the thousand arms being a symbol of the victory of Avalokiteśvara (and Buddhism) over Shiva, whose name 'Īśvara' he appropriates, and his cult.[42] (Cf. Trailokyavijaya, one of the five Wisdom Kings, depicted as trampling on Maheśvara - the Buddhist version of Shiva - and his consort.[43][42]) The thousand-armed Avalokiteśvara's eleven heads, meanwhile, are thought to be derived from the eleven Rudras, forms and companions of Shiva (Rudra).[32][44]
Originally portrayed as a servant or acolyte of the buddhaAmitābha in some of the texts which mention him, Avalokiteśvara - originally 'Avalokita(svara)'[45][46] - also later came to be depicted as one who brought popular deities into Buddhism by pronouncing their hymns, thereby according them a place in Buddhist scriptures and ritual. Eventually, however, these deities came to be identified as different forms or manifestations of the bodhisattva himself.[47] Thus Avalokiteśvara gradually took on forms, attributes and titles originally ascribed to Shiva and/or to Vishnu such as sahasra-bhuja, sahasra-netra ('thousand-eyed'),[48]Īśvara, Maheśvara, Hari, or Nīlakaṇṭha.
The emergence of Avalokiteśvara's thousand-armed form is linked with the interiorisation of Shiva into the bodhisattva as Viśvarūpa.[44] The dhāraṇī of 'Nīlakaṇṭha' (i.e. Harihara - Vishnu and Shiva - later conflated with Avalokiteśvara) became attached to the sahasra-bhuja Avalokiteśvara (of which Harihara was the prototype[49]), so that the thousand-armed form became seen as a bestower of royal authority, a trait carried over from Nīlakaṇṭha/Harihara.[44] Indeed, in Sri Lanka, Tibet and Southeast Asia, Avalokiteśvara became associated with the state and with royalty.[50]
Classic Mahayana teaching holds that Avalokiteśvara is able to manifest in different forms according to the needs of different individuals. In the Lotus Sūtra, it is stated that Avalokiteśvara can appear in different guises - which includes that of 'Īśvara' and 'Maheśvara' - to teach the Dharma to various classes of beings.[44]
A sandstone sculpture of Nīlakaṇṭha Avalokiteśvara from Sarnathcirca 6th century CE. This particular depiction is based on the Hindu god Shiva about to swallow the halāhala poison.[51]
The Buddha said to Bodhisattva Akṣayamati: "O son of a virtuous family! If there is any land where sentient beings are to be saved by the form of a buddha, Bodhisattva Avalokiteśvara teaches the Dharma by changing himself into the form of a buddha. ... To those who are to be saved by the form of Brahma, he teaches the Dharma by changing himself into the form of Brahma. To those who are to be saved by the form of Śakra, he teaches the Dharma by changing himself into the form of Śakra. To those who are to be saved by the form of Īśvara, he teaches the Dharma by changing himself into the form of Īśvara. To those who are to be saved in the form of Maheśvara, he teaches the Dharma by changing himself into the form of Maheśvara. ... To those who are to be saved by the form of a human or of a nonhuman such as a deva, nāga, yakṣa, gandharva, asura, garuḍa, kiṃnara,[52] or mahoraga,[53] he teaches the Dharma by changing himself into any of these forms."[54]
A similar statement appears in the Kāraṇḍavyūha Sūtra:[55]
BhagavatŚikhin replied, 'He [Avalokiteśvara] completely ripens the many beings who circle in saṃsāra, teaches them the path to enlightenment, and teaches the Dharma in whatever form a being can be taught through. He teaches the Dharma in the form of a tathāgata to beings who are to be taught by a tathāgata. He teaches the Dharma in the form of a pratyekabuddha to beings who are to be taught by a pratyekabuddha. He teaches the Dharma in the form of an arhat to beings who are to be taught by an arhat. He teaches the Dharma in the form of a bodhisattva to beings who are to be taught by a bodhisattva. He teaches the Dharma in the form of Maheśvara to beings who are to be taught by Maheśvara. He teaches the Dharma in the form of Nārāyaṇa to beings who are to be taught by Nārāyaṇa. He teaches the Dharma in the form of Brahmā to beings who are to be taught by Brahmā. ... He teaches the Dharma in whatever particular form a being should be taught through. That, noble son, is how Bodhisattva Mahāsattva Avalokiteśvara completely ripens beings and teaches them the Dharma of nirvāṇa.'[56]
Despite being a latecomer among the esoteric forms of Avalokiteśvara introduced into China, because of the promotion of his cult by the three esoteric masters (Śubhakarasiṃha, Vajrabodhi and Amoghavajra have all made translations of thousand-armed Avalokitesvara texts) and patronage by the imperial court, the sahasra-bhuja Avalokitesvara overtook and absorbed the fame of other tantric forms of the bodhisattva.[57]
Bhagavaddharma's version (T. 1060) and its popularity
Out of the various transliterations of the dhāraṇī in Chinese, that of Bhagavaddharma (T. 1060) has risen to become the standard in East Asia.
Bhagavaddharma was a monk who came to China from western India around the mid-7th century, about whom nothing else is known; the Taishō Tripitaka has only two works in Chinese by him, both on the thousand-armed Avalokiteśvara (T. 1059, 1060). The latter of these two works, the 'Sūtra of the Vast, Perfect, Unimpeded Great-Compassionate Heart of the Thousand-Handed Thousand-Eyed Bodhisattva Avalokitasvara's Dhāraṇī', made at Khotan around 650-661 CE, has made him immortal.[2] The popularity of his version is attested by surviving Dunhuang manuscripts dated to the 8th century, some of which are excerpts of the ten great vows contained in the sūtra.[58]
In China itself, various anecdotes about miracles effected by the recitation of the dhāraṇī appear from the Tang dynasty onwards.[59] As the dhāraṇī's efficacy became widely known, dhāraṇī pillars on which the dhāraṇī's text was inscribed began to be erected, the earliest of these dating from 871 CE.[60] By the end of the period, both the sūtra text and the dhāraṇī circulated among the monks and the laity, with copies being made either as pious offerings or commissioned by the faithful to obtain religious merit.[61] An abbreviated version of the sūtra, consisting of only the ten great vows recited by Avalokiteśvara within the text (see 'Summary' below) and the dhāraṇī itself, was also in circulation. Known as the 'Invocation of the Great Compassionate One' (大悲啟請 Dàbēi qǐqǐng),[62] this text was probably used in a liturgical setting.[60]
The reason behind the subsequent popularity of Bhagavaddharma's sūtra is thought to be due to its relative simplicity compared to other versions: while other sūtras on the thousand-armed Avalokiteśvara contained detailed rules on how to visualize and depict this form of the bodhisattva,[63] the very lack of such instructions in Bhagavaddharma's text might have contributed to its democratic appeal for ordinary people.[58] In addition, Bhagavaddharma's version is the only one that contained the sections on the ten great vows and the blessing of the fifteen kinds of good deaths as well as protection from fifteen kinds of bad deaths. The dhāraṇī's concrete power over death and the comprehensiveness of Avalokiteśvara's vows might have been another factor that appealed to the masses.[58]
Because of the great popularity enjoyed by this sūtra, the epithet 'Great Compassionate One' (大悲 Dàbēi) became identified specifically with the sahasra-bhuja Avalokiteśvara from the Tang period on, though previously it was used in other sūtras to describe Avalokiteśvara in general.[64]
Summary of Bhagavaddharma's version
Bhagavaddharma's text begins with Śākyamuni Buddha in Avalokiteśvara's palace on the island Potalaka about to preach to a congregation of bodhisattvas, arhats, devas and other beings. Suddenly there is a great illumination and the three thousand realms become golden in color, shaking all over while the sun and moon become dull by comparison. One of the bodhisattvas present, Dhāraṇī King (總持王菩薩), asks the Buddha why this is happening; the Buddha reveals that Avalokiteśvara secretly emitted this light "in order to comfort and please all living-beings."[65][66]
Avalokiteśvara then begins to speak, revealing that innumerable kalpas ago, the Thousand-light King Tathāgata of Tranquil Abode (千光王靜住如來) entrusted to him the 'Dhāraṇī of the Great Compassionate Heart' (大悲心陀羅尼呪). As soon as he heard the dhāraṇī, Avalokiteśvara - who had then been a bodhisattva of the first stage - quickly advanced to the eighth stage, and after reciting a vow, became endowed with a thousand hands and eyes: "So from that epoch long ago, I have kept the dhāraṇī. As a result, I have always been born where there is a buddha. Moreover, I have never undergone birth from a womb, but am always transformed from a lotus."[67]
After giving this explanation, he then calls upon anyone who wants to keep this dhāraṇī to give rise to the thought of compassion for all sentient beings by making the following ten vows after him.
Namaḥ Avalokiteśvara of Great Compassion, may I quickly learn all Dharma.
Namaḥ Avalokiteśvara of Great Compassion, may I speedily obtain the eye of wisdom.
Namaḥ Avalokiteśvara of Great Compassion, may I quickly save all sentient beings.
Namaḥ Avalokiteśvara of Great Compassion, may I speedily obtain skillful means.
Namaḥ Avalokiteśvara of Great Compassion, may I quickly sail on the prajñā boat.
Namaḥ Avalokiteśvara of Great Compassion, may I speedily cross over the ocean of suffering.
Namaḥ Avalokiteśvara of Great Compassion, may I quickly obtain the way of discipline and meditation.
Namaḥ Avalokiteśvara of Great Compassion, may I speedily ascend the nirvāṇa mountain.
Namaḥ Avalokiteśvara of Great Compassion, may I quickly enter the house of non-action.
Namaḥ Avalokiteśvara of Great Compassion, may I speedily achieve the Dharma-Body.
If I face a mountain of knives, may it naturally crumble, if I face a roaring fire, may it naturally burn out, if I face hell, may it naturally disappear, if I face a hungry ghost, may it naturally be satiated, if I face an Asura, may its evil heart gradually become tame and, if I face an animal, may it naturally obtain great wisdom.[68]
After making such vows, one should then sincerely call the name of Avalokiteśvara as well as the name of Amitābha Buddha, Avalokiteśvara's original teacher.[68]
Avalokiteśvara stresses the dhāraṇī's efficacy by vowing that should anyone who recites it fall into an evil realm of rebirth, or not be born into one of the buddha lands, or not attain unlimited samādhi and eloquence, or not get whatever he desires in his present life, or, in the case of a woman, if she detests the female body and wants to become a man, he (Avalokiteśvara) will not achieve complete, perfect enlightenment, unless those who recited it were insincere, in which case they will not reap its benefits.[68]
Aside from such spiritual and mundane benefits as removing grave sins caused by heinous acts such as the five crimes or the ten evil acts[a] or curing 84,000 kinds of illnesses,[70] the sincere keeping of the dhāraṇī is said to also result in fifteen kinds of good rebirth (e.g. being ruled by a virtuous king wherever one is born, fully endowed with money and food, can see the Buddha and listen to the Dharma in the place of birth) and the avoidance of fifteen kinds of evil deaths (e.g. suicide, death on the battlefield, death by starvation).[71]
Avalokiteśvara then recites the dhāraṇī; the earth shakes in six ways, while precious flowers rain down from the sky. As all the buddhas of the ten directions are delighted and practitioners of heterodox ways become frightened, all the assembled reach different levels of realization. Upon being asked by Mahābrahmā (大梵天王), Avalokiteśvara goes on to further explain the dhāraṇī's benefits, both spiritual and temporal, and recites a gāthā commanding various benevolent devas, nāgas and yakṣas to guard the keepers of the dhāraṇī.[70][66]
Like all esoteric sūtras, this sūtra shows interest in ritual matters. As part of the sādhanā or ritual requirement, detailed instructions on constructing a sacred space or boundary are provided: the dhāraṇī is to be recited twenty-one times over a particular item such as a knife, pure water, white mustard seed, clean ashes, or five colored twine, which would then be used to demarcate the boundary. The sūtra also offers many recipes employing the dhāraṇī to deal with various mundane problems (e.g. to ease a difficult childbirth or to cure scotophobia or snakebite) or to attain specific goals (e.g. commanding a ghost or the four guardian gods, repelling foreign invasions or natural disasters away from one's own country).[72][66]
The sūtra then ends by identifying the names of the forty mudrās of the thousand-armed Avalokiteśvara - forty standing for the full number of a thousand - and the respective benefits they bestow on the worshipper. These mudrās are only described verbally on Bhagavaddharma's version; illustrated depictions are found in the version by Amoghavajra (T. 1064).[72][66]
The Nīlakaṇṭha dhāraṇī, now firmly associated with the sahasra-bhuja form of Avalokiteśvara, enjoys a huge popularity in East AsianMahayana Buddhism.
The dhāraṇī is especially revered in China, where the thousand-armed (Sahasra-bhuja) Avalokiteśvara (or Guanyin) is the most popular among the bodhisattva's forms. It is most often called the 'Great Compassion Mantra' (大悲咒 Dàbēi zhòu) in popular parlance, an epithet also (mistakenly) applied to a different, much shorter dhāraṇī, that of the Eleven-headed (Ekadasa-mukha) Avalokiteśvara. Musical renditions of this latter dhāraṇī (such as those made by Imee Ooi or Ani Choying Dolma) are often labelled the Tibetan Great Compassion Mantra (traditional: 藏傳大悲咒, simplified: 藏传大悲咒 Zàngchuán Dàbēi zhòu) or The Great Compassion Mantra in Sanskrit (梵音大悲咒 Fànyīn Dàbēi zhòu) in recordings, adding to the confusion.
In Korea, the dhāraṇī - usually referred to as Sinmyo janggu daedalani (신묘장구대다라니; Hanja: 神妙章句大陀羅尼 "The Great Dhāraṇī of Wondrous Verses")[73][74] or as Cheon-su gyeong (천수경; Hanja: 千手經 "Thousand Hands Sutra")[75] - is also a regular fixture of Buddhist ritual.[75] Copies of the dhāraṇī (written in Hangul and the Korean variant of Siddhaṃ script) are hung inside homes to bring auspiciousness.[76]
In Japan, the dhāraṇī is most often associated with the Zen schools of Buddhism such as Sōtō (where it is called 大悲心陀羅尼 Daihishin darani "Dhāraṇī of the Great Compassionate Heart") or Rinzai (which dubs the dhāraṇī 大悲円満無礙神呪 Daihi Enman Muge (or Enmon Bukai[77]) Jinshu "Divine Mantra of the Vast, Perfect Great Compassion" or 大悲呪 Daihi shu - the Japanese reading of Dàbēi zhòu[78]), where it is extensively used: as in many other parts of East Asia, it is chanted daily by Zen monks,[79] and used in funerals[80] as well as in hungry ghost feeding ceremonies (segaki).
A version of the dhāraṇī is also found within the esoteric Shingon school: in the early 20th century it was apparently counted as one of three dhāraṇīs (三陀羅尼 san darani) especially revered within the school, the other two being the Buddhoṣṇīṣa Vijaya Dhāraṇī (仏頂尊勝陀羅尼 Bucchō-sonshō darani) and the Guhyadhātu Karaṇḍa-mudrā Dhāraṇī (宝篋印陀羅尼 Hōkyō-in darani).[81] Since then, however, the Root Dhāraṇī of Amitābha (阿弥陀如来根本陀羅尼 Amida nyorai konpon darani) - once counted as an alternative candidate to the Nīlakaṇṭha dhāraṇī[81] - seems to have overtaken its place.[82]
In Vietnam, the dhāraṇī is called Chú Đại Bi (the Vietnamese translation of the Chinese title 大悲咒 Dàbēi zhòu), It is almost similar to the version of Bhagavaddharma, albeit with a different way of dividing the text (84 verses instead of 82). The text is available in two forms: either without the verse numbering,[83] or with verse numbering (1-84).[84] At the entrance of many pagodas, especially in tourist places, the Chú Đại Bi is made available to visitors, either printed on a single sheet in black and white, or as a color booklet on glossy paper. They are printed on the initiative of Buddhist practitioners who make an offering to the sangha.
Description of illustrations: • Left: Sheet of plain paper (21x29.7 cm). Complete text of Chú Đại Bi, ie 84 verses, printed in black and white. At the top of the page, on both sides, are the representations of Buddha A Di Đà (Amitābha) and Bodhisattva Quán Âm (Guanyin). • Center: Two booklets, first covers, flexible cardboard (21x14.5 cm). - Green colored copy , 32 p. : Quan Âm (or Quán Thế Âm Bồ Tát) is standing on a lotus. She is represented in her form with twenty-four arms and eleven faces: hers, the others symbolizing the ten directions of space (the four cardinal directions, the four intercardinal directions, the nadir and the zenith, that the Boddhisattva can observe simultaneously.) The meaning (and not the literal translation) of the words " Nghi Thức Trì Tụng " is: " Instructions for reciting well the Chú Đại Bi". • Right: An open booklet. We can read the numbered verses 1-42 of the "Chú Đại Bi", that is to say half of the full text. Note : one of the booklets has more pages (32) than the other (12) because it is more illustrated and contains ritual instructions (as indicated on the front cover).
Click on images to enlarge
Texts and translations
Shorter version
Besides some differences in dividing the text and a few (very minor) variances in wording, the Chinese, Vietnamese and Japanese versions of the dhāraṇī are substantially the same, being based either on the short version by Bhagavaddharma (T. 1060) and/or a similar rendition by Amoghavajra (T. 1113b).[85]
Amoghavajra (Taishō Tripiṭaka 1113b)
The following is a version of the dhāraṇī attributed to Amoghavajra (T. 1113b) which is mostly similar to that of Bhagavaddharma, albeit with a different way of dividing the text and an accompanying Sanskrit version written in Siddhaṃ script (Romanized; Sanskrit transliterated as written in the original).[86][87]
A manuscript from Dunhuang (Pelliot chinois 2778) containing the opening portion of the dhāraṇī written in Siddhaṃ script, with a transliteration into Chinese (text given behind).
Analysis
While the most commonly used version in East Asia, the shorter version of the dhāraṇī as transcribed by Bhagavaddharma has been criticized as an imperfect rendering based on a defective recitation or manuscript copy.[2][88] Amoghavajra's Siddhaṃ text in T. 1113b is also badly corrupted.[1] In addition to the use of the Central Asian form 'Narakindi'/'Nilakandi'/'Narakidhi' (那囉謹墀) for Sanskrit Nīlakaṇṭha[4] and other grammatical quirks which betray a Central Asian milieu,[89] certain other portions of the standard text are corrupt beyond recognition.
For instance, the passage 室那室那 阿囉嘇佛囉舍利 (Siddhaṃ text of T. 1113b: cinda 2 arṣam pracali), is thought to be a corruption of kṛṣṇa-sarpopavīta "thou with the black serpent as the sacred thread" (attested in other versions and hinted in Amoghavajra's commentary in T. 1111[90]), with the word for 'serpent' (सर्प sarpa) as written in Siddhaṃ script being misread as 2 arsa.[91] Meanwhile, 薩婆菩哆那摩縛伽摩罰特豆 (T. 1113b: sarva-bhutanama vagama vadudu) is a misrendering of sarva-bhūtānām bhava-mārga visodhakam ("(it) cleanses the path of existence of all beings"), with dudu (特豆) being a filler word to cover a portion of the text that was not perceived clearly.[92]
Reconstructed Sanskrit text
The following is a reconstruction of the original Sanskrit text of Bhagavaddharma's version by Chandra (1988) based on a comparison with other versions;[93]his own translation of this text is given below.
Namo ratna trayāya | namo āryĀvalokiteśvarāya bodhisattvāya mahāsattvāya mahākāruṇikāya |
The form of the dhāraṇī as commonly written and recited in Chinese Buddhism is as follows.[94][95] The Chinese characters are a transcription, not a translation, of the Sanskrit.[96] For example, in the first line 喝囉怛那·哆囉夜耶 hē luō dá nà · duō luō yè yé transliterates the Sanskrit ratna-trayāya (three treasures) but "three treasures" would be translated as 三寶 sān bǎo.
The dhāraṇī in Vietnamese (here given without verse numbering) is as follows:[83]
Nam mô hắc ra đát na đa ra dạ da. Nam mô a rị da, bà lô yết đế thước bát ra da, bồ đề tát đỏa bà da, ma ha tát đỏa bà da, ma ha ca lô ni ca da. Án. tát bàn ra phạt duệ, số đát na đát tỏa.
Nam mô tất kiết lật đỏa y mông a rị da. Bà lô yết đế thất phật ra lăng đà bà.
Nam mô na ra cẩn trì. Hê rị ma ha bàn đa sa mế. Tát bà a tha đậu du bằng. A thệ dựng. Tát bà tát đa, na ma bà dà ( Na ma bà tát đa). Ma phạt đạt đậu, đát điệt tha. Án! a bà lô hê, lô ca đế, ca ra đế, di hê rị, ma ha bồ đề tát đỏa, tát bà tát bà, ma ra ma ra, ma hê ma hê rị đà dựng. cu lô cu lô yết mông. độ lô độ lô phạt xà da đế, ma ha phạt xà da đế, đà ra đà ra, địa rị ni, thất Phật ra da, dá ra dá ra. Mạ mạ phạt ma ra, mục đế lệ, y hê y hê, thất na thất na, a ra sâm Phật ra xá lợi, phạt sa phạt sâm, Phật ra xá da, hô lô hô lô ma ra, hô lô hô lô hê rị, ta ra ta ra, tất rị tất rị, tô rô tô rô. Bồ đề dạ bồ đề dạ, Bồ đà dạ bồ đà dạ, Di đế rị dạ, na ra cẩn trì. địa rị sắc ni na, Ba dạ ma na. ta bà ha. Tất đà dạ. Ta bà ha. Ma ha tất đà dạ. ta bà ha. Tất đà du nghệ. Thất bàn ra dạ. ta bà ha. Na ra cẩn trì. Ta bà ha. Ma ra na ra. Ta bà ha. Tất ra tăng a mục khê da, ta bà ha. Ta bà ma ha a tất đà dạ. Ta bà ha. Giả kiết ra a tất đà dạ. Ta bà ha. Ba đà ma yết tất đà dạ, Ta bà ha. Na ra cẩn trì bàn đà ra dạ. Ta bà ha. Ma bà lị thắng yết ra dạ. Ta bà ha.
Nam mô hắc ra đát na đa ra dạ da, Nam mô a rị da, bà lô yết đế, thước bàn ra dạ, Ta bà ha. Án tất điện đô, mạn đa ra, bạt đà dạ, ta bà ha.
Japanese: Sōtō Zen version
Detail of a 12th-century depiction of the thousand-armed Avalokiteśvara (Senju Kannon) located at the Tokyo National Museum.
A form of the dhāraṇī which uses a pronunciation scheme different from that used by the Zen schools is attested within Shingon Buddhism.[100][101][102]
Adoration to Avalokiteśvara the Bodhisattva-Mahāsattva who is the great compassionate one!
Om, to the one who performs a leap beyond all fears!
Having adored him, may I enter into the heart of the blue-necked one known as the noble adorable Avalokiteśvara! It means the completing of all meaning, it is pure, it is that which makes all beings victorious and cleanses the path of existence.
Thus: Om, the seer, the world-transcending one!
O Hari the Mahābodhisattva!
All, all!
Defilement, defilement!
The earth, the earth!
It is the heart.
Do, do the work!
Hold fast, hold fast! O great victor!
Hold on, hold on! I hold on.
To Indra the creator!
Move, move, my defilement-free seal!
Come, come!
Hear, hear!
A joy springs up in me!
Speak, speak! Directing!
Hulu, hulu, mala, hulu, hulu, hile!
Sara, sara! siri, siri! suru, suru!
Be awakened, be awakened!
Have awakened, have awakened!
O merciful one, blue-necked one!
Of daring ones, to the joyous, hail!
To the successful one, hail!
To the great successful one, hail!
To the one who has attained master in the discipline, hail!
To the blue-necked one, hail!
To the boar-faced one, hail!
To the one with a lion's head and face, hail!
To the one who holds a weapon in his hand, hail!
To the one who holds a wheel in his hand, hail!
To the one who holds a lotus in his hand, hail!
To the blue-necked far-causing one, hail!
To the beneficient one referred to in this Dhāraṇī beginning with "Namaḥ," hail!
Adoration to the Triple Treasure!
Adoration to Avalokiteśvara!
Hail!
May these [prayers] be successful!
To this magical formula, hail!
Kazuaki Tanahashi and Joan Halifax
A rendition of the dhāraṇī by Joan Halifax and Kazuaki Tanahashi, based on interpretations by Japanese authors Shūyō Takubo (1960)[105] and Tomoyasu Takenaka (1998),[106] is as follows:[107]
Homage to the Three Treasures. Homage to noble Avalokitesvara, noble Bodhisattva Mahasattva, who embodies great compassion. Om. Homage to you, who protects all those who are fearful.
Being one with you, the Blue-necked noble Avalokitesvara, I bring forth your radiant heart that grants all wishes, overcomes obstacles, and purifies delusion.
Here is the mantra: Om. You are luminous with shining wisdom. You transcend the world. O, Lion King, great Bodhisattva. Remember, remember, this heart. Act, act. Realize, realize. Continue, continue. Victor, great victor. Maintain, maintain. Embodiment of freedom. Arise, arise, the immaculate one, the undefiled being. Advance, advance. You are supreme on this earth. You remove the harm of greed. You remove the harm of hatred. You remove the harm of delusion. Lion King, remove, remove all defilements. The universal lotus grows from your navel. Act, act. Cease, cease. Flow, flow. Awake, awake. Compassionate one, enlighten, enlighten.
Blue-necked One, you bring joy to those who wish to see clearly. Svaha. You succeed. Svaha. You greatly succeed. Svaha. You have mastered the practice. Svaha. Blue-necked one. Svaha. Boar-faced one, lion-faced one. Svaha. You hold the lotus. Svaha. You hold the blade wheel. Svaha. You liberate through the sound of the conch. Svaha. You hold a great staff. Svaha. You are the dark conqueror abiding near the left shoulder. Svaha. You wear a tiger skin. Svaha.
Homage to the Three Treasures. Homage to noble Avalokiteshvara. Svaha. Realize all the phrases of this mantra. Svaha.
Nārāyaṇa (那羅延天 Naraen-ten), the Buddhist version of Vishnu riding on Garuda, as depicted in the Besson-zakki. Note the two animal heads (lion and boar?) on the left and right.
Lokesh Chandra
Chandra (1988) criticized both Suzuki's translation and his characterization of dhāraṇīs as "[conveying] no intelligent signification ... mostly consist[ing] of invocations and exclamations"[108] and provided an alternative translation - a corrected version of an earlier translation by the same author (1979)[109] - based on his reconstruction of the text (see 'Reconstructed Sanskrit text' above).[104]
1. Adoration to the Triple Gem. Adoration to ārya Avalokiteśvarā, bodhisattva, mahāsattva, the Great Compassionate One. Oṃ. Having paid adoration to One who protects in all dangers, here is the [recitation] of the names of Nīlakaṇṭha, as chanted by ārya Avalokiteśvarā.
2. I shall enunciate the 'heart' [dhāraṇī] which ensures all aims, is pure and invincible for all beings, and which purifies the path of existence.
3. THUS. Oṃ. O Effulgence, World-Transcendent, come, oh Hari, the great bodhisattva, descend, descend. Bear in mind my heart-dhāraṇī. Accomplish, accomplish the work. Hold fast, hold fast, Victor, oh Great Victor. Hold on, hold on, oh Lord of the Earth. Move, move, oh my Immaculate Image. Come, come, Thou with the black serpent as Thy sacred thread. Destroy every poison. Quick, quick, oh Strong Being. Quick, Quick, oh Hari. Descend, descend, come down, come down, condescend, condescend. Being enlightened enlighten me, oh merciful Nīlakaṇṭha. Gladden my heart by appearing unto me.
To the Siddha hail. To the Great Siddha hail. To the Lord of Siddha Yogins hail. To Nīlakaṇṭha hail. To the Boar-faced One hail. To the One with the face of Narasiṃha hail. To One who has a lotus in His hand hail. To the Holder of a cakra in His hand hail. To One who sports a lotus(?) in His hand hail. To Nīlakaṇṭha the tiger hail. To the mighty Śaṇkara hail.
4. Adoration to the Triple Gem. Adoration to ārya Avalokiteśvarā, hail.
Korean version
The Korean form of the dhāraṇī[110][111][112] stands midway between the short and the long versions; despite being generally more akin to the shorter version used in other East Asian countries, it exhibits certain readings found in the longer version (see 'Longer version' below).
The following is a transliteration of the longer version of the dhāraṇī and an accompanying Sanskrit version (originally written in Siddhaṃ; given in Romanized form below) made by Vajrabodhi (T. 1061).[115]
na mo rā tna tra yā ya na maḥ ā ryā va lo ki te śva rā ya bo dhi sa tvā ya ma hā sa tvā ya ma hā kā ru ṇi kā ya sa rva ba ndha na cche da na ka rā ya sa rva bha va sa mu draṃ su kṣa ṇa ka rā ya sa rva vya dhi pra śa ma na ka rā ya sa rve ti tyu bha ndra va vi nā śa na ka rā ya sa rva bha ye ṣyo tra ṇa ka rā ya ta smai na ma skṛ tvā i na mā ryā va lo ki te śva ra bha ṣi taṃ ni ra kaṃ ṭa bhe nā ma hṛ da ya ma vra ta i cchya mi sa rvā tha sa dha kaṃ śu vaṃ a ji yaṃ sa rva bhū ta naṃ bha va ma rga vi śu ddha kaṃ ta dya thā oṃ ā lo ke ā lo ka ma ti lo kā ti kraṃ te he ha re ā ryā va lo ki te śva ra ma hā bo dhi sa tva he bo dhi sa tva he ma hā vo dhi sa tva he vi rya bo dhi sa tva he ma hā kā ru ṇi kā smī ra hṛ da yaṃ hi hi ha re ā ryā va lo ki te śva ra ma he śva ra pa ra ma tra ci tta ma hā kā ru ṇi kā ku ru ku ru ka rmaṃ sa dha ya sa dha ya vi ddhyaṃ ṇi he ṇi he ta va raṃ ka maṃ ga ma vi ga ma si ddha yu ge śva ra dhu ru dhu ru vi ya nti ma hā vi ya nti dha ra dha ra dha re i ndre śva ra ca la ca la vi ma la ma ra ā ryā va lo ki te śva ra ji na kṛ ṣṇi ja ṭā ma ku ṭa va raṃ ma pra raṃ ma vi raṃ ma ma hā si ddha vi dya dha ra va ra va ra ma hā va ra ba la ba la ma hā ba la ca ra ca ra ma hā ca ra kṛ ṣṇi vṛ ṇa dī rgha kṛ ṣṇi pa kṣa dī rgha ta na he pa dma ha sti ca ra ca ra di śa ca le śva ra kṛ ṣṇi sa ra pa kṛ ta ya jyo pa vi ta e hye he ma hā va ra ha mu kha tri pū ra da ha ne śva ra na ra ya ṇa va ru pa va ra ma rga a ri he ni ra kaṃ ṭa he ma hā kā ra ha ra ha ra vi ṣa ni rji ta lo ka sya rā ga vi ṣa vi nā śa na dvi ṣa vi ṣa vi nā śa na mu ha vi ṣa vi nā śa na hu lu hu lu ma ra hu lu ha le ma hā pa dma nā bha sa ra sa ra si ri si ri su ru su ru mu ru mu ru bu ddhya bu ddhya bo ddha ya bo ddha ya mai te ni ra kaṃ ṭa e hye he ma ma sthi ta syiṃ ha mu kha ha sa ha sa muṃ ca muṃ ca ma hā ṭā ṭa ha saṃ e hye he paṃ ma hā si ddha yu ge śva ra sa ṇa sa ṇa vā ce sa dha ya sa dha ya vi ddhyaṃ smī ra smi ra śaṃ bha ga vaṃ taṃ lo ki ta vi lo ki taṃ lo ke śva raṃ ta thā ga taṃ da dā he me da rśa na ka ma sya da rśa naṃ pra kra da ya ma na svā hā si ddhā ya svā hā ma hā si ddhā ya svā hā si ddhā yo ge śva ra ya svā hā ni ra kaṃ ṭa ya svā hā va rā ha mu khā ya svā hā ma hā da ra syiṃ ha mu kha ya svā hā si ddha vi ddhya dha ra ya svā hā pa dma ha sta ya svā hā kṛ ṣṇi sa rpa kṛ dhya ya jyo pa vi ta ya svā hā ma hā la ku ṭa dha rā ya svā hā ca kra yu dha ya svā hā śa ṅkha śa bda ni bo ddha nā ya svā hā ma ma ska nda vi ṣa sthi ta kṛ ṣṇi ji nā ya svā hā vyā ghra ca ma ni va sa nā ya svā hā lo ke śva rā ya svā hā sa rva si ddhe śva ra ya svā hā na mo bha ga va te ā ryā va lo ki te śva rā ya bo dhi sa tvā ya ma hā sa tvā ya ma hā kā ru ṇi kā ya si ddhya ntu me va ntra pa dā ya svā hā
Reconstructed Sanskrit text
A Champa depiction of Shiva dating from the 9th-10th century. Note the serpent hanging from Shiva's left shoulder serving as his upavita (sacred thread). The dhāraṇī describes Nīlakaṇṭha as kṛṣṇa-sarpopavīta or kṛṣṇa-sarpa-kṛta-yajñopavīta, "one who has made the black serpent into a yajñopavīta."
Vajrabodhi's Sanskrit text as reconstructed by Chandra (1988):[116]
As noted above, the longer version as preserved by Vajrabodhi provides evidence that the dhāraṇī, in its original form, was a recitation of Nīlakaṇṭha's names by Avalokiteśvara (Āryāvalokiteśvara-bhāṣitaṃ Nīlakaṇṭha-nāma "the names of Nīlakaṇṭha uttered (bhāṣita) by ārya Avalokiteśvara"), suggesting that the two figures were not yet conflated with each other at this stage.[19] This version also contains more epithets associated with Shiva and Vishnu than the standard shorter version, such as Maheśvara, Mahākāla, Tripura-dahaneśvara, Mahācala ("the great immovable (acala) one"), Lakuṭadhara ("the bearer of a club"; cf. Lakulisha), halāhala-viṣa nirjita ("subduer of the halāhala poison"), vyāghra-carma-nivasana ("he who wears a tiger skin"), Nārāyaṇa-balopabala-veśa-dhara ("having the prowess and vestments (veśa) of Nārāyaṇa"), Padmanābha ("the lotus-naveled"), or śaṇkha-śabda-nibodhana ("he who awakens (with the) sound of a conch").[19]
Comparison of various Sanskrit versions
The following Sanskrit texts are synoptically arranged for comparison:
The Sanskrit of Amoghavajra (T. 1113b; spelling as in the received text)[117]
A fragmentary manuscript of the dhāraṇī from Dunhuang (Pelliot chinois 2778)[4][118]
A reconstruction of the standard text of the dhāraṇī based on Bhagavaddharma and Amoghavajra by Lokesh Chandra (1988)[93]
The underlying Sanskrit of the Korean version[113]
The Sanskrit of Vajrabodhi (T. 1061; spelling as in the received text)[119]
A (partial) transcription of the Sanskrit-Sogdian manuscript of the dhāraṇī from Dunhuang (Or. 8212/175; spelling as in the manuscript)[13][14][15]
A reconstruction of the longer text of the dhāraṇī based on Vajrabodhi by Lokesh Chandra (1988)[116]
Shorter Version
Longer Version
Amoghavajra
(T. 1113b)
Dunhuang
(MS. Pelliot chinois 2778)
Bhagavaddharma + Amoghavajra Reconstructed Text (Chandra)
Korean Text
Vajrabodhi
(T. 1061)
Dunhuang
(British Library, Or. 8212/175)
Constituted Text of Vajrabodhi (Chandra)
namo ratna-trayāya
namo ratna-trayāya
namo ratna-trayāya
namo ratna-trayāya
namo ratna-trayāya
࿓[namo ratnatrayāya.
namo ratna-trayāya
nama āryāvalokiteśvarāya bodhisatvāya mahāsatvāya mahākāruṇikāya
^Killing, stealing, sexual misconduct, lying, flattery or irresponsible speech, defamation, duplicity, greed, anger, and foolishness or the holding of mistaken views.[69]
^囉 is read as la; 婆 is read as wó; 訶 is read as hā
^ abGauthiot, Robert Edmond; De La Vallée-Poussin, Louis Étienne Joseph Marie (1912). "Fragment Final de la Nilakanthadharani': En Brahmi et en Transcription Sogdienne". Journal of the Royal Asiatic Society of Great Britain and Ireland. Cambridge University Press: 629–645. JSTOR25190068.
^Keyworth, George A. (2011). "Avalokiteśvara". In Orzech, Charles; Sørensen, Henrik; Payne, Richard (eds.). Esoteric Buddhism and the Tantras in East Asia. Brill. pp. 525–526. ISBN978-9004184916.
^Lokesh Chandra (1984). "The Origin of Avalokitesvara"(PDF). Indologica Taurinensia. XIII (1985-1986). International Association of Sanskrit Studies: 189–190. Archived from the original(PDF) on June 6, 2014. Retrieved 26 July 2014.
^ abBuswell, Robert E. (1992). The Zen Monastic Experience: Buddhist Practice in Contemporary Korea (revised ed.). 978-0691034775. pp. 37, 79, 81, 115. ISBN978-0691034775.
^Toganoo, Shōun (1914). 常用諸経典和解 (Jōyō Sho-kyōten Wage). Rokudai Shimpō-sha. p. 227. 'I have not used Bhagavaddharma's translation [for this book] due to its imprecise transliteration and (the presence of) many words which seem to be corrupted/dialectal forms.' (伽梵譯を依用せざりし所以は、伽梵譯は音譯が精密でなく、訛略と思はるゝ語が非常に多いからである。)
Chandra, Lokesh (1984). "The Origin of Avalokiteśvara"(PDF). Indologica Taurinensia. XIII (1985-1986). International Association of Sanskrit Studies: 189–190. Archived from the original(PDF) on June 6, 2014. Retrieved 26 July 2014.
Gauthiot, Robert Edmond; De La Vallée-Poussin, Louis Étienne Joseph Marie (1912). "Fragment Final de la Nilakanthadharani': En Brahmi et en Transcription Sogdienne". Journal of the Royal Asiatic Society of Great Britain and Ireland. Cambridge University Press: 629–645. JSTOR25190068.
Giles, Lionel (1957). Descriptive Catalogue of Chinese Manuscripts from Tun-huang in the British Museum, London. London: Trustees of the British Museum.
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