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E-mail: bdea@buddhanet.net

Web site: www.buddhanet.net

Buddha Dharma Education Association Inc.

by Min Bahadur Shakya

The Iconography of

Nepalese Buddhism

The Iconography of

Nepalese Buddhism

P 

H A  N

I C- 

ZDH / T A

P P



H A  N

/ M, T

P. O. B N: , K, N

e

Nepalese

Buddhism



M B S

A  A

Min Bahadur Shakya is a scholar of Newar and Tibetan

Buddhism. Among his major publications are  hort istory

of uddhism in epal, . ntroduction to uddhist

onasteries of athmandu alley, .

He was elected Vice President of World Fellowship of

Buddhist Youth WFBY for the years –. His major re-

search work on ife and ontribution of epalese rincess

hrikuti evi is shortly forthcoming. Mr. Shakya was nomi-

nated by Venerable Master Hsing Yun, Fokuang Shan, Taiwan as

Research Associate in Fokuang Shan Chinese Buddhist Research

Academy for the years –.

In , he was granted a SAARC Fellowship (Buddhist

Studies) by the Ministry of Foreign Aairs, impu, Bhutan.

Currently he is working as the Chief Editor of uddhist ima-

laya, a bi-annual journal dealing with Buddhism in the Hima-

layan regions. He has also contributed more a dozen research

papers in reputed foreign journals. Since , he is teaching in

Engineering Institute, Pulchowk Campus, Lalitpur. Presently

he is the Director, Nagarjuna Institute of Exact Methods.

F

Under the denition of andicrafts there are multiple products.

Of them the statues of gods and goddesses of Buddhism and

Hinduism stand foremost.eir importance is enhanced not only

because of the fact that they are hand made but also that they are

made by using meticulously time-consuming traditional tech-

vii

niques: Lost Wax Process, Chiselling, antique nishing and so on.

It has been long felt by craftsmen, dealers, collectors, and above all

art connoisseurs that there was a dearth of books dealing with this

subject and they all wished that there should be a book which must

be authentic and reliable in subject matter and must have contained

historical, cultural and religious meanings and artistic value.

e Handicraft Association of Nepal turned out to be an

appropriate institution to ponder over this matter and initiated

dialogue with ZDH / TA for publication of a book on this subject

and partial sponsorship of fund which it accepted. e task of

choosing an authentic/professional writer was found to be quite

dicult. HAN then chose for this august work Mr. Min Bahadur

Shakya who has been engaging himself in the study and research

work of Buddhism and Buddhist Iconography for a long time.

I am glad and certain that his deep knowledge of icono-

graphy of the Buddhist as well as the Hindu pantheon will doubt-

lessly serve the purpose of the need of all concerned; including

even those who do not fall in the above categories, but are simply

general readers wishing to earn knowledge on Buddhist as well

as Hindu icons. Also for scholars who come to visit this country

time and again for their research work on Buddhism of the Great-

er Vehicle and its iconography this, this illustrious book will be a

help. I express my heartfelt thanks to ZDH / TA and its Resident

Representative, Mr. Harihar Subedi for their substantial nancial

support and valuable suggestions, without which the publication

could not have materialized.

Y R D

P H A  N.

vii

P

A casual visitor will be surprised to see the large number of both

peaceful and wrathful looking deities in Kathmandu valley. He

will even be doubtful if these are Buddhist at all. Because in

eravada Buddhist tradition they are famliar with the image

of Shakyamuni Buddha, Dharmacakra symbol, stupa, or some

devas connected with Buddha legends. However, this is not the

case in Kathmandu valley or in Nepal. e form of Buddhism

is Vajrayana which traditional Buddhists believed to have been

delivered by Shakyamuni Buddha himself. e Vajrayana form

of Buddhism was fully developed in India at Nalanda and

Vikramashila monasteries and it was fully dissiminated in Nepal

and Tibet.

People in these countries have preserved its spiritual tradi-

tions through centuries and have produced a unique Buddhist

culture and civilization through arts and paintings. ese artistic

paintings and sculptures are still scattered here and there in large

number especially in Kathmandu valley. Apart from its artistic

and historic value it has deep spiritual signicance. In recent

years, due to lack of proper understanding and importance of

these images or sculptures many of them were stolen, vandalised

or simply left neglected, to decay.

In order that people may get some understanding about

the importance of these deities and appreciate its spiritual signi-

cance a humble attempt has been made to describe the merits and

virtues of dierent deities in Nepalese context although brief in

nature. If by going through these pages if some one feels inspired

viii

and appreciated about the importance of these deities then, I be-

lieve the author is amply rewarded.

I am deeply indebted to Mr. Yagya Ratna Dhakhwa,

President of HAN who gave me this opportunity for preparing

this monograph. I owe an especial debts of thanks to my student

Mr. Raj Tuladhar who prepared almost all of the line drawings of

the deities used in this book. I would like to express my thanks

to Mr. Pusparaj Shakya, Okubahal for providing photographs of

his personal collection and to Mr. Rajesh Shakya, Mr Pradeepa

Shakya and Mr. Ashoka Vajracharya who spared no pains in tak-

ing the necessary photographs .

To my cousin brother Mr. Chandra Bahadur Shakya, I

am deeply grateful for his painstaking editing of my manuscript

and for providing computer facilities. To my friends Mr. Milan

Shakya and Mr. Madan Lal Shrestha I owe a debt of thanks for

their artistic skills in layout and design of the cover and other

illustrations.

Finally, to my sister Miss Samjhana Shakya I have my aec-

tion for she typed my entire manuscript into a computer.

Lastly, but not the least, to my friend Mr. Harihar Raj Joshi

who gave a nal touch to my manuscript, I appreciate his co-

operation.

M B S

C, L

M, 

viii
ix
C
A  A .......................................................................................... v
F ............................................................................................................... v
P .................................................................................................................. vii
L  I ( &  ) ..................  xv
I.  I
A.    B   T  ........................................... 
A.        E  S T .......................................... 
A.        K &  I E ......................................................... 
A.        T (B-)  .......................... 
A.        I  .................................................................... 
A.        S  S .......................................................  
A.        B  ........................................................................... 
A.        E  V T .................................. 
A.        S P (. AMAYA)  .......................................... 
A.        D &  C S ............................... 
B.    L T ........................................................................... 
B.        T D  ............................................................. 
B.        G ..................................................................................... 
B.        B  ................................................................................ 
B.        B  ...................................................................... 
B.        I (Y ) .............................................. 
B.        D .................................................................................. 
B.        D (P  D)  ................ 
B.        D (T D  D)  ........................ 
C.    C .................................................................................... 
II.  D R
..    S  ....................................................................................  

x
xi
III.  S R
.    V .................................................................................... 
.    V .................................................................................... 
.    V B ................................................................... 
.    A B  ................................................................. 
.    R S B  .................................................... 
.    A B  .................................................................... 
.    A S B .......................................................... 
.    B V T
 (M B)  ................................................................. 
.    A  B A ..................................... 
.    B D ............................... 
IV.  N R
.    B D  ................................................................. 
.    B V  ....................................................................... 
.    S B  ............................................................................... 
.    B B ................................................................... 
.    B K  ................................................... 
.    B K ............................................................. 
.    B K ......................................................................... 
.    B S  .............................................................. 
V.  G
.    G N ........................................................................ 

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eBUDDHANET'SBOOKLIBRARYE-mail:bdea@buddhanet.netWebsite:www.buddhanet.netBuddhaDharmaEducationAssociationInc.byMinBahadurShakyaTheIconographyofNepaleseBuddhismTheIconographyofNepaleseBuddhismPHANIC-ZDH/TAPPHA...

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