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Vairocana (from Sanskrit: Vi+rocana, "from the sun" or "belonging to the sun", "Solar", or "Shining"), also known as Mahāvairocana (Great Vairocana), is a major Buddha from Mahayana and Vajrayana Buddhism. [1] Vairocana is often interpreted, in texts like the Avatamsaka Sutra, as the Dharmakāya [2] [3] [4] of the historical Gautama Buddha.
The cardinal positions of Akshobhya and Vairocana can alter depending on specific teachings. In a classic schema, Vairocana may be seen as embodying sovereignty as the lord of the mandala and thus is at the central place of the mandala. [11] Akshobhya then may face east as the second Buddha, and embodies steadfastness.
Tibetan representation of Buddha Vairocana, featuring several of his defining characteristics, including his white color, the teaching gesture (dharmacakramudra), and sitting on an elaborate lion throne. The Mahāvairocana Tantra is the first true Buddhist tantra, the earliest comprehensive manual of tantric Buddhism.
The body of [Vairocana] Buddha is inconceivable. In his body are all sorts of lands of sentient beings. Even in a single pore are countless, immeasurable vast oceans. [30] Also, for the Buddhāvataṃsakasūtra, the historical Buddha Sakyamuni is simply a magical emanation of the cosmic Buddha Vairocana. [28]
The central deity (honzon) in this rite was Dakiniten, who is considered to be both the incarnation of the buddha Vairocana (Dainichi Nyorai) and the 'origin' (honji) of the sun goddess Amaterasu, the mythical ancestor of the imperial line; indeed, the emperor, upon ascending the throne, was said to have formed the 'wisdom fist' mudra ...
In Chinese Buddhism and Shingon Buddhism, it is believed that the Great Peacock King is an incarnation of either Vairocana Buddha or Shakyamuni Buddha. Its main merits include the elimination of poison and disease, the protection of the country, the dispelling of disasters, and the ability to pray for both rain and cessation of rain. [4]
Both seated Padmapani and Vajrapani, regarded as the guardian of Buddha Vairocana, are depicted as a handsome well-built men with serene expression adorned with exquisite crown and jewelries. The statues are the fine example of the 9th century Central Javanese Sailendran art, which influenced the Buddhist art in Southeast Asia, including ...
Acala first appears in the Amoghapāśakalparāja Sūtra (不空羂索神変真言經, pinyin: Bùkōng juànsuǒ shénbiàn zhēnyán jīng, translated by Bodhiruci circa 707-709 CE [7]), where he is described as a servant or messenger of the buddha Vairocana: [8] The first from the west in the northern quadrant is the acolyte Acala ...