Page 10 - Wrathful Images

The iconography of Panjarnata can vary somewhat, but differences are generally minor in appearance such
as having either a squatting posture or carrying a ‘ghandi’ staff (Tib. ber-ka) across the forearms. Many
of the sculptural examples that do not have a ‘ghandi’ might be missing the staff due to loss over time.
His general appearance is that of a wrathful deity (Tib. dro lha) modeled from the descriptions of ‘raksha’
demons (Tib. sin-po) of Indian classical literature. Although generally known as a protector deity, Mahakala
can also function as a meditational deity with many commentarial texts which remain closely guarded and
relatively secret even into modern times.

Other common elements which can be seen here include a ferocious countenance with three bulging eyes,
bared fangs, a crown of five human skulls along with a corpse underfoot, symbolizing the triumph over ego.
Panjaranata has several early textual sources with the most commonly cited being the Hevajra Tantra. He
can also be found in the specific Tantras popularly known as the Twenty-five Chapter and the Fifty Chapter
Mahakala Tantras. The Panjarnata form was also adopted and incorporated into many Nyingma ‘Revealed
Treasure’ (Tib. terma) teachings. Among the various traditions of Panjarnata he can be described as either
solitary or having a number of named principal attendant figures numbering more than a dozen.

As a protector in the political realm, Panjarnata played a significant role in Tibetan history and
governance. In Tibet, Buddhism was closely intertwined with political power, and the protector deities, like
Panjarnata, were believed to safeguard the state and its rulers. His image was often placed in monastic
and administrative buildings to ensure the protection and well-being of the state. This was particularly
common in China at various times beginning with Kublai Khan and the Yuan dynasty. The sculpture is dated
according to the beautifully inscribed Imperial Xuande mark in calligraphic script.

寶帳大黑天形像不一，但通常差異不大，有的呈蹲坐 中亦可找到，此外，寧瑪派的伏藏（藏文：terma）教
姿而有的於兩前臂上橫跨持有「甘地」杖（藏文：ber- 法中也有寶帳大黑天的形象。 在寶帳大黑天的各種
ka）。 許多沒有「甘地」杖的寶帳大黑天塑像可能是 實修法門中，他有時被描述為單人有時又有十多個有
在歷史傳承中遺失了該法杖。 大黑天通常呈忿怒相 名字的主要隨從。
（藏文：dro lha），其原型源自印度古典文學中對「羅
剎」（藏文：sin-po）的描述。 大黑天通常被認為是 作為政治領域的護法，寶帳大黑天在西藏歷史和統
護法神，但也可作觀想本尊，許多教法經疏至今仍被 治中扮演了重要角色。 在西藏，佛教與政治權力緊
嚴密保護，甚至在現代也相對保密。 密相連，寶帳大黑天等護法被認為是地域和統治者
的守護神。 大黑天常被供奉在寺院和行政機構中，
此尊造像三眼圓睜、怒目而視、獠牙外露，而冠上的 以保佑西藏強盛興旺，尤其在元代忽必烈時期尤為
骷髏及腳下的人體則象徵破除我執之意。 關於寶帳 常見。 此尊造像上大明宣德年施陰刻銘文可為其
大黑天有幾個早期經典記載，其中最常引用的是《喜 斷代。
金剛密續》，同時在二十五章和五十章瑪哈嘎啦密續

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