awalokiteswara

Among thousands and thousands of deities introduced by the Buddhist pantheon the most fantastically folklorised and also widely worshipped deity, is Awalokiteswara. He is regarded as the most easily available god of relief. He is believed to immediately present himself whenever he is wanted by his devotees for his help. In other words, he is like a call god who is always quick to come and help whatever he is prayed for. A very famous prayer line favourite to him is 'Tare Mam' which means — "Save me from misery.- It is interesting to note that he is popular not only among the Buddhists but also among the Hindus. The countless number of his statues scattered in and around the Kathmandu Valley alone can speak a lot about his popularity. None of the deities in the Buddhist Pantheon has as many idols as Awalokiteswara. Nepal is known for having a tremendously rich collection of idols of Awalokiteswara. Most of them are in stone and also in bronze and wood. But it must be remembered that the most remarkable number of his idols is in the form of the traditional tankas and tapestries too. Some of the most excellent art works of his images which are beautifully represented in the tankas and paubhas and still somehow nicely preserved can be seen at the Buddhist Viharas like: Itumbahal and Kanakmunibahal in Kathmandu and Kwabahal, Bubahal and Ubahal in Patan. These Viharas exhibit these beautiful art works only on certain religious occasions otherwise they always keep them in locked rooms for safety. Q. the art gallery of Bhaktapur museum and the tanka section of the national museum in Kathmandu have always their doors open for the public. If you go there for a visit you would certainly see some of the most precious tan kas of Awalokiteswara they have preserved there.

 

This deity is said to have 108 different forms. Some of the most widely worshipped Awalokiteswaras are Adi Nath Awalokiteswara , Bungam Awalokiteswara (Rata Machhendra), Seto Padmapani Awalokiteswara. There is also a very old tradition of worshipping 12 different Awalokiteswaras representing twelve different months of the year. Each of them is believed to preside over a complete full month attributed to him. The names of all those 12 Awalokiteswaras and the months associated with them are as follows, 

1. Hariharivahana Awalokiteswara presides over Baishakh (Apr)

 2. Trailokevashankary presides over  Jestha (May)

 3. Rakta Roopa  presides over Asadh (June)

4. Neelkantha presides over Shrawan (July)

5. Mayajal presides over Bhadra (Aug)

  6. Karandabyuha  presides overAshwin (Sep) 

 7. Sadakshyari presides overKartik (Oct)

 8. Shree Mallok presides over Mangsir(Nov)

 9. Halahal presides over Paush (Dec)

10. Khasarpan presides over Magh (Jan) 

 11. Sinhanad presides over Falgun(Fab)

12. Padmanriteswara presides over Chaitra (Mar) 

These Awalokiteswaras are very popular among the Jyapu and Shakya Communities of Nepal. There are rnnY Sanlhu Guthis (religious institutions of their own devoted to the regular service of all those twilit_ Awalokiteswaras. According to the long maintained tradition the members of the said Guthis always by rotation go to the  temple of Awalokiteswara on every first day of each month and worship him with great reverence. some time when  

this routine service coincides with big religious days likp Maha Astami, Punhin (full moon day) and so on, it automatically turns itself into a big ceremony ko • obviously means a big feast and fun for all the members oi the Guthi. The most enthusiastic members of the Guthi are the Jyapu - the farmers of the Kathmandu Valley who have always great faith on this god. It is interesting to note that to be able to get the membership of the Guthi is a big pride for them. Even today they are proud enough to say that it is a great sin to live in the neighbourhood that does not have any Guthi devoted to the regular worship of all-compassionate god Awalokiteswara.

 There are many kinds of Dwadash Awalokiteswaras but the most fascinating one is in the Courtyard of Patan Kwabahal. The beautiful bronze figures of all twelve Awalokiteswaras are so artistically displayed there that they arrest the curious eyes that come across them. They are all so delicately done that they are delightful to look at. The entire workmanship on them is a real beauty on the bronze. The Nepalese Buddhists worship them almost every day with great feelings and faith. The cultural impact of Awalokiteswara worship in the Nepalese minds is so deeply rooted that it has been almost like the blood in their body.

 One of the main reasons of his popularity is the most dazzling and dynamic theory of Karuna, meaning compassion, which was well introduced by the Mahayana Buddhism some time around 8th century. According to this theory, Karuna is the most effective wonder drug to Cure the disease of the depressed. This theory eventually proved to be a great relief to the thousands and thousands of helplessly suffering souls. It is this beautiful ideal of compassion what Popularised this deity to the utmost point. After the Mahayanists recognized him as an 'all compassionate god'of all the suffering souls of the world he was highly honoured by his entire devotees. Actually it is on this historical groun i d that he has been very strongly held n high honour today. He is generally regarded as the most publin service-minded god who is said to have fully dedicated himself to the tremendous task of liberating the suffering souls of the world

. In the Karandabyuha, a famous Buddhist text, he is described to have deliberately refused his long cherished liberation already due to his painful penance he performed until all the fellow creatures of the world were in position to get enlightened and obtain freedom from misery.

 There is an interesting legend about the unique compassion this god has for all. It goes this way: Once Awalokiteswara - after he obtained Bodhi knowledge Was preparing to merge himself into the Shunya (eternal void). All of a sudden he heard a very confusing uproar from a very long distance point. This turm oiled his peaceful mind a great deal. Then he sat still on the Sumeru mountain top for a while and by means of intensive meditation he immediately realised that the wailing uproar was none other than that of his own fellow beings who simply could not help crying at the disappearance of their most adorable god Awalokiteswara. This realisation immediately led him to give up his idea of obtaining salvation for himself and instead made him to promise that he would not care for it until a single soul on the earth remained unrescued from misery.

 This is one of the reasons why whenever Awalokiteswara is represented in arts- he is always shown standing as if he has never free time to sit down and relax. However, it must be remembered that his standing posture is always in tune with his solemn promise of redemption he made. And another noticeable thing about his divine personality is his most expressively enlightened and inspiring face. He looks very peaceful and patient yet very serious and deeply devoted to his duty. He always looks downward which is obviously an indicative of his main concern to the people suffering under his own eyes. Hence, his most appropriate name Awalokiteswara comes. Awalokiteswara in Sanskrit means always looking downward. He is generally shown having only one face and two hands. This is his most popular form. This human form of him makes us feet very close to him. The greatest beauty he has is his simplicity which never fails to attract one's sensitive mind and mood. He always holds a lovely lotus in his left hand whereas his right hand gracefully shows the Varad Mudra which is the gesture of boon giving attitude. He puts the beautiful kundaiinki tika (symbolical of his great yogic power) on his forehead and wears a very handsome head-dress with a miniature figure of Guru Amitabh (who is his spiritual father) set on it.

 These are some of the characteristics which help us a lot to recognize the form of Awalokiteswar represented in art works. Some of the most fascinating stone sculptures of Awalokiteswara are at Shreegha Vihar in Kathmandu. Dev Patan. Kwabahal and Bhinchhenbahal of Patan and, of course, on the Swayambhu hill top. Those who are really interested in the Buddhist sculptures should go and see those wonderful works which would feed their eyes with great feast to their complete satisfaction. 

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