Szilágyi András (szerk.): Ars Decorativa 14. (Budapest, 1994)

KELÉNYI Béla: Panydzsara Mahákála. Egy tibeti Tekercskép a Delmár-gyűjteményből

goddess's body, who is on a lotus throne in an attitude of stepping leftwards, is red; she is treading on two four-armed men, one of whom is red and the other white. In her left hand there is a hatchet, with her left hand she raises to her mouth a skull-cup filled with blood; on her shoulder is a ceremonial staff (Skt.: khan'ähga). Beneath Ekajati (2) there are two skeletons dancing on corpses, in the form of „Lord of the Cemetery, Brother and Sister" (18). Their loin-cloths are silk, in their raised right hands there are skull-topped staffs (Tib.: thod s kam gyi dbyug pa); in their left hands they hold skull-cups filled with blood. At the lower right-hand edge of the picture is depicted another form of appearance of dharmapäla Sridevi (Tib.: dPal Idan dmag zor rgyal mo) (19); at the bottom left-hand edge, however, can be seen a rare form of depiction of the dharmapäla Vaisravana: probably „The Vaisravana possessing a red lance and a blue horse" (Tib.: rNam sras mdung dmar rta sngon can) (20). The lance is in his raised right hand, in his left hand is his attribute, a mongoose spewing treasure (Tib.: ne'u le). In the picture can also be found those black animals which are depicted in the so-called sacrificial pictures (Tib.: hskang rdzas). They take the different human organs for sacrifice to the angry gods. Such is the vulture flying on the left side of Panjara Mahäkäla, beside his head with a human heart in its beak; in the lower right-hand part, in front of Sridevi there is a dog wearing a red collar. One of the important issues of the picture is the identity of the monks depicted in it. It is clear that they are those Sakya lamas (Skt.: guruparamparä) who have been initiated into the teachings of Panjara Mahäkäla, and who played a crucial role in the passing on of these teachings. Identification of the figures depicted is made especially difficult by the fact that they have no inscriptions beneath them; consequently, their identities can only be deduced by establishing the order in which the teachers appear.

19 In one of the volumes of the Sa sky a hkd 'bum series which summarizes the Sakya tradition, one

20 of the texts dealing with the Panjara Mahäkäla gives essentially the same order of pupils as the Ngor chen series

21 published by Jackson, with the difference that earlier it also gives a „nonordinary" series (Tib.: thun mong mayin pa' i brgyud pa). The ,,ordinary" series is the following: 1. rDo rje 'chang (Skt.: Vajradhara) 2. mkhd gro ma rDo rje gur (Skt.: Vajrapanjara däkini) 3. bram ze mChog sred (Skt.: Vararüci brähmana) 4. bDe bai rdo rje (Skt.: Sukhavajra) 5. Sraddha kara va rma (Skt.: Samkaravarman) 6. jo bo Rin chen bzang po 7. Brag steng pa Yon tan tshul khrims 8. Mai lo (Mai gyo lo tsa ba) 9. Sa chen (Sa chen Kun dgd snying po) 10. rTse mo (bSod nams rtse mo) 11. Grags pa ( G rags pa rgyal mtshan ) 12. Chos rje pa 13. l

Phags pa 14. zhang dKon mchog dpal 15. Na bzd pa 16. rje bSod nams rgyal mtshan From among the figures depicted on the picture, only the Vajradhara surrounded by the Sun and Moon (12) can be identified. In the pictures depicting Panjara Mahäkäla, the yogi initiated into the teachings is generally shown as VirDpa, one of the eighty-four mahäsiddhas.

22 The mahäsiddha, or yogi, ( 13) with matted hair beneath the Vajradhara cannot be identified on the basis of his attributes, but it is possible that he is a depiction of bram ze mChog sred. In his right hand is a string of prayer beads, and next to his right shoulder is a staff ending in a strange vase shaped like a bird's head. In his left hand a mongoose spewing treasure can be seen. The upper right-hand figure is a monk holding a flower between his hands (15); this is probably Sa chen ( 1092-1158),

23 the famous abbot of the Sakya order. The upper