Towards indigenizing the Mandala of the Four Great Heavenly Rulers
Traditionally, the mandala was considered esoteric knowledge. While some symbols can be universally understood, a certain amount of training and even initiation is needed to understand the mandala and its codes. But just like Buddhist meditation that used to be the domain of monastics but has entered the mainstream, the use of the Buddhist mandala has spread out to lay use & even non-Buddhist settings. Today, it is not uncommon to see mandala used in art therapy, for relaxation, hypnotherapy and secular meditation. But there are laypeople who do understand the spiritual significance of the mandala & are knowledgeable of its use.
Filipino Buddhists can also learn how to use the mandala, either from traditional sources, or by indigenizing the design, symbols & application. Traditionalists & purists may balk at the idea of people tampering with the original designs but if we look at the history of the mandala, we will realize that all the designs were create &, modified by people. Just like any Buddha statue, the mandala is to be respected but not venerated or clung to. Buddhist icons serve a purpose & being an object of attachment is not one of the purposes. If the purpose for modifying a mandala is to make the design more suitable, more relevant, & more understandable for us, indigenous innovations for the future of Buddhism in the country surely outweighs clinging to imported traditions. The Tibetans, Chinese, Thais, etc. modified ancient Indian Buddhist iconography, so why not Filipinos?
The first thing I propose to indigenize are the names of the Maha Rajahs, using Sanskrit as the base because the precolonial Filipinos were exposed to Sanskrit terms & not Pali. (I used an “h” in spelling Rajah as per the Filipino way.) Then their symbolic weapons (which were not designated in the ancient scriptures) are each chosen for their role in the overall usage of the mandala. Likewise, not all the colors traditionally assigned to the Maha Rajahs are maintained but again chosen to fit the overall design. Lastly, I very loosely translate the term Maha (deva) Raja into “Archangel” to bridge the understanding of this Buddhist concept to a Christian majority.
The appearance of the Maha Rajahs does not need to follow the traditional look of an ancient Chinese military general. Some artistic latitude may be allowed to represent these mystical beings. In my personal setup, I have a set of 4 Chinese-looking Maha Rajahs. I also have another set of winged angels representing these Buddhist Guardians of the World. Winged angels are easily identified by Filipinos as celestial beings. My set are females because I sometimes want to acknowledge feminine energy & power rather than attributing spiritual development solely to masculinity. After all, spirituality has no gender.
The following is what I have done with the traditional iconography:
WESRABANA (Filipino): Archangel of the North & Ruler of the Yakkha Giants
Vaiśravaṇa (Sanskrit), Vessavana (Pali): the literal meaning is “son of Vaiśrava”
This Archangel is associated with being “The One who hears cries for help (of needy people).” The term “dukkha” for suffering in Indian is understood in Filipino as poor & needy. Thus, the help needed is one of material or financial aid.
Wesrabana is the Golden Archangel of Wealth. Traditionally, his color was yellow or green. I chose the color gold to clearly represent wealth. In Chinese & Tibetan iconography, he holds an umbrella or a pagoda, and sometimes a jewel-spitting mongoose. In the Thai version, where he is known as Waes Suwann or Waisarawan, he holds a war club as both a weapon and a symbol of his authority. Similarly, I have matched the Pinoy version of Wesrabana with an arnis wooden club. Together with his army of yakkha giants, Wesrabana fends off demons (asura), ghosts (peta), evil yakkhas, bad spirits, and bad luck.
BIRUPA-AKSA (Filipino): Archangel of the West & Ruler of the Naga Dragons
Virūpākṣa (Sanskrit), Virūpakkha (Pali): literally meaning “Strange Eyed” but carries the denotation “The One who sees with the Divine Eye”
Birupa-aksa is Red Archangel of the Forces of Nature. I adopted his traditional color red which represents strength, like fire consuming things in its path. Traditionally, he carries a naga/serpent or a cord. I replaced this weapon with the native whip called “buntot pagi”made of the tail of a stingray. The buntot pagi was used by precolonial Filipinos as a magical weapon to ward off aswangs & other supernatural beasts. Rarely, it’s use is still taught in certain old-style Arnis. Together with his army of naga dragons, Birupaksa defends people against evil psychic forces & natural calamities. With the aid of his Divine Eye, he provides insight into the laws of nature & brings people to the Dhamma.
DATA-RASTARA (Filipino): Archangel of the East & Ruler of the Gandhabha Cherubs (celestial musicians)
Dhṛtarāṣṭra (Sanskrit), Dhatarattha (Pali): meaning “The Upholder of Society”
Data-rastara is the Silver Archangel of Harmony & Good-will. Traditionally, his color was white. I chose to match him with the color silver to represent calm & peace, like a silver moon on a peaceful night. His ‘weapon’ is a musical instrument which he plays to pacify nerves, cool hot tempers and avert aggression from enemies. He and his celestial host of good-looking entertainers play divine music that harmonizes communities & supports a nation against its enemies.
WIRULHA (Filipino): Archangel of the South & Ruler of the kumbhaṇḍa goblins
Virūḍhaka (Sanskrit), Virūlha (Pali): meaning “Eternal Growth”
Wirulha is the Green Archangel of Harvest & Longevity. Traditionally, his color was blue. I replaced it with the color green to represent growth, like green plants flourishing in a field. His traditional weapon is a sword. There are several Filipino native blades, some of which are dedicated combat weapons like the wavy kris or the straight talibong. Other blades are utilitarian like the farmer’s karet or ubiquitous bolo. Any one of these can be used as a symbol but my preference would be the common bolo. Like cutting down weeds in a field, the Archangel’s bolo cuts ignorance & defends Truth. With his army of kumbhaṇḍa spirits from the Underworld, Wirulha protects virtuous people from Yama the Lord of Death.
I am serious & respectful towards this practice but I do not take the iconography literally. It is clearly based on ancient Indian mythology predating Buddhism that is interesting to study in itself. It is also insightful to compare & contrast with other religious mythologies. Unlike Secular Buddhists, I have not shut off the possibility of other planes of existence that are commonly hidden from us.
Instead of following tradition, I have chosen a certain method of personal practice towards avoiding three things:
- 1. Mistaking cultural accretions & folk beliefs as doctrines of the Dhamma.
- 2. Falling into a practice of superstition and what the Buddha considered as “animal arts” like fortune-telling, divination, spell-casting, supplicating deities, etc. (reference: Brahmajāla Sutta); unfortunately, in the Buddhist world, we can see people relying on amulets, magical chants, & horoscopes.
- 3. Turning a meditative practice into a ceremonial & ritualistic one.
- More about this practice in my next post.
My mandala still under construction showing both winged Archangels, traditional Maha Rajah & a Tibetan mandala. It also includes the Deva King Sakka, who is shown green-skinned in Buddhist art.