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Ratnasambhava

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Saved by ryan.schnirel@colorado.edu
on April 8, 2010 at 7:20:57 pm
 

 

            RATNASAMBHAVA    Hōshō Nyorai     宝生如来      

 

 

                    Ratnasambhava             Akshobhya                  Vairocana                        Amitabha                     Amoghasiddhi

 

 

Who is Ratnasambhava?

     Buddha Ratnasambhava is the third of the Five Dhyani Buddhas. The four other Buddhas are Vairocana, Akshobya, Amitaba, and Amogasiddhi. Ratna means jewel and Ratnasambhava can be literally translated to wish fulfilling jewel or origin of jewels. The Three Jewels are Buddha (teacher), Dharma (teaching), and Sangha (community). Ratnasambhava always faces south, and the color of his body is yellow which represent the color of the sun. He changes the poison of pride such as spiritual and intellectual  to the "Wisdom of Equality" or Sameness(Samatajnana). He gives good fortune and virtue and teaches that every being is equal.

 

     Most of the times, he sits on lotus, and his right arm is hanging down on his side and his palm is facing the front. This mudra means “the accomplishment of the wish to devote oneself to human salvation” (Exotic India Art).  

 

 

 

Ritual Modes of Veneration and Significance

 

     Ratnasambhava is one of the five Dhyani Buddhas (Amoghasiddhi, Akshobya, Ratnasambhava, Vairocana, Amitabha) which means that he is one of five Buddhas that represent aspects of the enlightened consciousness to aid in spiritual transformation. He represents richness and is sometimes considered the Buddha of giving. By representing this characteristic of the Buddha Ratnasambhava is able to help fulfill the bodhisattva vow by showing practitioners the way of charity. It is said that by meditating on a visualization of Ratnasambhava it is possible for a practitioner to transition pride/greed into wisdom of sameness. This knowledge of sameness allows practitioners to see the common features of human existence more clearly and thus understand the common humanity underlying all people.

     It is said that from this knowledge of sameness the practitioner is given clarity of mind to perceive properly, the eight worldly experiences: gain and loss, fame and disgrace, praise and blame, and pleasure and pain.  These experiences are organized to illustrate their interrelatedness.  By perceiving them properly, via the knowledge of sameness that Ratnasambhava bestows, a practitioner is able to realize that by seeking one experience we are left open to another often more harmful experience.

 

Mantra

 

     Below you can see the mantra associated with Ratnasambhava translated between Siddham, Tibetan, and a transliterated using the English alphabet. This mantra would be recited by practitioners as a method of paying homage to Ratnasambhava and is another way for practitioners to transmute their personal pride into knowledge of sameness. 

(Siddham and Tibetan forms courtesy of http://www.visiblemantra.org/ratnasambhava.html)

 

Siddhaṃ

 

 

Ratnasambhava mantra in the Siddham script

 

Tibetan - Uchen

 

Ratnasambhava mantra in the Tibetan Uchen script

 

Transliteration

oṃ ra tna saṃ bha va traṃ

oṃ ratnasambhava traṃ

 

Seed Syllable

Ratnasambhava also has an associated seed syllable, tram. This syllable is considered a condensation of the mantra and operates as a representative sound for Ratnasambhava. This seed syllable is often carved into objects as a method of veneration.

Ratnasambhava's seed syllable is traṃ.

 

traṃ in Siddhaṃ script

 

 

the seed syllable tram

 

 

 

traṃ in Tibetan - Uchen script

 

 tram seed syllable

 

 

 

                                                     Figure 1:2                                                      

Image Analysis

 

Bodhisattva imagery facilitates Buddhism’s profound messages, helping generate responses to various teachings and vows.  Viewers interpretations of the Bodhisattva's depend on the artists representations of elements like clothing, colors, gestures, and locations. Ratnasambhava's depicted differently within Asian cultures, yet consistent features provide insight into our reaction to the visual forms.

 

Ratnasambhava maintains the highest level of bodhicitta, while offering the gift of compassionate generosity. Ratnasambhava’s empty, out, and downward facing, right hand suggests an equal offering of all, so much that “his hand cannot hold anything.” his resting left hand, which usually gently holds an object, symbolizes him preserving the gem of bodhichitta. In figure 1:2 we clearly see the varada mudra, providing insight into our understanding of the prajna of generosity, as well as the red object (bodhichitta) resting upon Ratnasambhava’s left hand.

 

Ratnasambhava also receives the title as the “jewel born” and as seen in image 1:3 Ratnasambhava holds a wish fulfilling jewel in his right hand. Contrary to the idea that his right hand remains empty, some representations depict the jewel. This symbolizes the connection to his wish fulfilling nature; the jewel contains boundless treasures waiting to be cultivated. His left hand supports a begging bowl, symbolizing opportunity for merit. Both symbols help promote the idea that Ratnasambhava gives generously, and by venerating the jewel, clear insight to dana (generosity), can be achieved.

 

In the majority of representations, Ratnasambhava appears a yellow tint. The yellow coloring signifies an important connection to the midday sun, or a midsummer day. Ratnasambhava may also be portrayed yellow because of the colors energy, intensity, and abundance of life. The midday sun emits a yellowish vibration, a compassionate glowing ray that provides the earth with equal light. Various interpretations may also lead one to believe that the yellow serves as an attraction or invitation, a color that draws us near in order to teach us about generosity and produce inner warmth. Ratnasambhava upholds equality; the color yellow helps visually support notion of unconditional generousity.

 

                                                                                                                                                                                                                                                                         Figure 1:3

Ratnasambhava usually appears resting upon a lotus leaf, a plant that metaphorically parallels the trials all sentient beings must push through to cultivate wisdom. As discussed in “The Beauty of Giving,” the lotus plant originates in the mud, yet as it grows it emerges from the mud and begins to float to the surface of the water. Once upon the surface the lotus opens to the sun (Ratnasambhava’s glowing yellow warmth), and cultivates into a beautiful, fully realized form.

 

Clothing also contributes to our understanding of Ratnasambhava. In figure 1:4 his attire reveals beautiful silk robes, gold jewelry, and an elaborate crown upon his head. Ratnasambhava’s dress implies the richness and wealth within his teachings and essence. The lavishness does not suggest an attachment to worldly possessions of excess, but rather the ability to manifest these metaphorical riches through a perfection of mind, especially a generous one.

 

Ratnasambhava maintains specific characteristics, helping offer insight into the particular Bodhisattvas message. Shrines,    temples, and other sacred veneration sights were the location for many early representations, yet as popularity and acceptance of imagery grew sculptures and paintings became increasingly apparent in residences of laity. The Bodhisattva’s presence helps cultivate a deeper wisdom, and encourages merit making. Progression of time and networks open the Images of Ratnasambhava to a wider audience, promoting the message of generosity and blanketing a beautiful yellow glow all over the land. 

 

Figure 1:4

 

Mythology of Ratnasambhava

 

 

The animal associated with Ratnasambhava is the horse. In Buddhism, the horse conveys over the suffering beings with full strength. It also suggests a journey. The horse symbolizes a spiritual journey such as that on which the Buddha-to-be set forth when he left his life at home, riding on his faithful charger. In Tibetan art, the horse is often shown carrying jewels on its back. This is a further reinforcement of its relation with Ratnasambhava.

 

 

 

Sources

 

http://www.visiblemantra.org/ratnasambhava.html

 

http://www.kheper.net/topics/Buddhism/dhyanibuddhas.html

 

http://www.himalayanart.org/image.cfm/66728.html

 

http://www.budismo-valencia.com/fotos/Ratnasambhava-2.gif

 

http://www.visiblemantra.org/figures/ratnasambhava.gif

 

http://www.wildmind.org/images/ratnasambhava-2.jpg

 

http://www.doncroner.com/Blog/ratnasambhava.jpg

 

http://www.exoticindiaart.com/product/ZN71/

 

http://www.buddhanet.net/mudras.htm

 

http://buddhism.about.com/od/thetriyaka/ig/Five-Dhyani-Buddhas/Ratnasambhava-Buddha.htm

 

http://ratnaghosa.fwbo.net/danafour.html

 

http://www.onmarkproductions.com/html/mudra-japan.shtml

 

 

 

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