From issue 17 of the Nagapuspa magazine:
Changes in the Image of Bodhisattva Ksitigarbha
The worshipping of Bodhisattva Ksitigarbha became very popular when it was introduced into China. The main images of Ksitigarbha are also created in China. Early representations of Bodhisattva Ksitigarbha were produced in early Tang; they were scarce and usually took on the form of a typical bodhisattva figure. The Ksitigarbha statues found in the Dunhuang and Longmen Grottoes are representative examples. A typical bodhisattva figure is portrayed wearing a headdress and heavenly robes. The figure can either be standing or sitting at ease with one leg bent and the other hanging down. These early images were commonly seen with Bodhisattva Avalokitesvara, acting as attendants of Buddha Amitabha. The popularity of Bodhisattva Ksitigarbha rose with the retranslation of the Sutra of the Ten Cakras of Ksitigarbha by Xuanzang. The number of Ksitigarbha statues then increased gradually, and started to appear individually. The Bodhisattva was depicted in the form of a bhiksu (Sanskrit for monk) or sravaka (Sanskrit for Buddha’s disciple), wearing the kasaya (monk’s robe) with either a shaven head or wearing a Five-Dhyani Buddha crown.
Descriptions of Ksitigarbha were recorded in several sutras that were translated or written during the Tang period. Some examples included the Sutra of the Ten Cakras of Ksitigarbha and Manual of Bodhisattva Ksitigarbha. In the Sutra of the Ten Cakras of Ksitigarbha, the Bodhisattva was described as appearing in the form of a sravaka and holding jewels in both hands. In the Manual of Bodhisattva Ksitigarbha, the Bodhisattva was portrayed sitting on a lotus throne, wearing the kasaya and holding a lotus flower in His left hand while the right was in abhaya mudra (gesture of fearlessness). Ksitigarbha took on the image of a monk in order to deliver sentient beings from the sufferings of panca kasayah (Sanskrit for five turbidities, namely corruptions, defilements, depravities, filths and impurities) of Buddha Amitayus, displaying His tranquil demeanour as well as the dignity and completeness of the Dharma. He led sentient beings to believe in karma and respect the Triple Gems, thereby achieving a peace of mind.
Ksitigarbha became associated with samsara (six realms of existence) and the Ten Kings of Hell in the late Tang period. This reflected the Bodhisattva’s vows of saving sentient beings from samsara. The use of this grouping (Ksitigarbha, samsara and Ten Kings of Hell) reached new heights during the Five dynasties. Thereafter, these images became a fixture. Ksitigarbha at this time was represented as sitting at ease, wearing a cap and holding a khakkhara and cintamani jewel in each hand respectively.
After the Song dynasty, Bodhisattva Ksitigarbha was portrayed in two ways. The first representation depicted the Bodhisattva sitting in padmasana position with the right hand holding the khakkhara and cintamani jewel in the left. The second representation showed Ksitigarbha flanked by Monk Daoming and Lord Min; He was known as Jin Dizang in Chinese. Both images depicted Ksitigarbha as a monk. The form of the Ksitigarbha statues that we see today are mostly based on these two models.
Changes in the Image of Bodhisattva Ksitigarbha
The worshipping of Bodhisattva Ksitigarbha became very popular when it was introduced into China. The main images of Ksitigarbha are also created in China. Early representations of Bodhisattva Ksitigarbha were produced in early Tang; they were scarce and usually took on the form of a typical bodhisattva figure. The Ksitigarbha statues found in the Dunhuang and Longmen Grottoes are representative examples. A typical bodhisattva figure is portrayed wearing a headdress and heavenly robes. The figure can either be standing or sitting at ease with one leg bent and the other hanging down. These early images were commonly seen with Bodhisattva Avalokitesvara, acting as attendants of Buddha Amitabha. The popularity of Bodhisattva Ksitigarbha rose with the retranslation of the Sutra of the Ten Cakras of Ksitigarbha by Xuanzang. The number of Ksitigarbha statues then increased gradually, and started to appear individually. The Bodhisattva was depicted in the form of a bhiksu (Sanskrit for monk) or sravaka (Sanskrit for Buddha’s disciple), wearing the kasaya (monk’s robe) with either a shaven head or wearing a Five-Dhyani Buddha crown.
Descriptions of Ksitigarbha were recorded in several sutras that were translated or written during the Tang period. Some examples included the Sutra of the Ten Cakras of Ksitigarbha and Manual of Bodhisattva Ksitigarbha. In the Sutra of the Ten Cakras of Ksitigarbha, the Bodhisattva was described as appearing in the form of a sravaka and holding jewels in both hands. In the Manual of Bodhisattva Ksitigarbha, the Bodhisattva was portrayed sitting on a lotus throne, wearing the kasaya and holding a lotus flower in His left hand while the right was in abhaya mudra (gesture of fearlessness). Ksitigarbha took on the image of a monk in order to deliver sentient beings from the sufferings of panca kasayah (Sanskrit for five turbidities, namely corruptions, defilements, depravities, filths and impurities) of Buddha Amitayus, displaying His tranquil demeanour as well as the dignity and completeness of the Dharma. He led sentient beings to believe in karma and respect the Triple Gems, thereby achieving a peace of mind.
Ksitigarbha became associated with samsara (six realms of existence) and the Ten Kings of Hell in the late Tang period. This reflected the Bodhisattva’s vows of saving sentient beings from samsara. The use of this grouping (Ksitigarbha, samsara and Ten Kings of Hell) reached new heights during the Five dynasties. Thereafter, these images became a fixture. Ksitigarbha at this time was represented as sitting at ease, wearing a cap and holding a khakkhara and cintamani jewel in each hand respectively.
After the Song dynasty, Bodhisattva Ksitigarbha was portrayed in two ways. The first representation depicted the Bodhisattva sitting in padmasana position with the right hand holding the khakkhara and cintamani jewel in the left. The second representation showed Ksitigarbha flanked by Monk Daoming and Lord Min; He was known as Jin Dizang in Chinese. Both images depicted Ksitigarbha as a monk. The form of the Ksitigarbha statues that we see today are mostly based on these two models.
Attributes and Attendants of Ksitigarbha
The attributes of Bodhisattva Ksitigarbha include the khakkhara and cintamani jewel. A Sanskrit word, “cintamani” refers to a jewel that is able to fulfill wishes and forms jewels. It is the most common attribute of Ksitigarbha and is able to grant the wishes of sentient beings. There are several types of the cintamani jewel, including a fiery ball of flames and a transparent sphere. The khakkhara (means “ringed staff” in Sanskrit) is often a wooden staff capped with metal loops or rings in different sizes. It is used as a form of support by monks when travelling on foot. When the khakkhara is shaken, a ringing sound is produced, which serves as a cautionary note to others, awakening people from their delusions. The khakkhara is a symbol of great spiritual strength, in which Bodhisattva Ksitigarbha uses it to unlock the door to hell to save sentient beings.
The statue of Ksitigarbha also has two attendants – Monk Daoming and Lord Min at each side. It was said that during the Tang dynasty, a monk named Jin Qiaojue (his Buddhist name was Dizang) from Silla went to Mount Jiuhua to cultivate and received support from Lord Min. Lord Min’s son then followed Jin Qiaojue to become a monk with the Buddhist name “Daoming”. People regarded Jin Qiaojue as the manifestation of Bodhisattva Ksitigarbha and thus named him as Jin Dizang. Lord Min and Monk Daoming were accorded the status of the attendants of Ksitigarbha due to their meritorious deeds. In addition, Jin Dizang is depicted sitting on a beast that resembles a lion. Known as Di Ting, it listens to the troubles and wishes of sentient beings. Di Ting is also able to tame other beasts and carries Jin Dizang around.
Childlike Ksitigarbha in Japan
The worship of Bodhisattva Ksitigarbha spread into Japan during the Nara period (710-794), with changes arising in its function and meaning. Known as Jizo Bosatsu in Japan, Jizo’s popularity developed profoundly during the Heian era (794-1192) with the introduction of Esoteric Buddhism. The Bodhisattva was integrated into local folk culture during the Kamakura period (1192-1333). The image of Jizo in the Edo period (1603-1867) transformed into childlike statues that acted as a guardian of children, ensuring the safe delivery of babies and child-rearing. With the increase in local elements, various kinds of Jizo emerged, possessing different functions and are unique to Japan. Examples include Kosodate (child raising) Jizou, Mizuko (protector of aborted and miscarried children) Jizo and Toge Nuki (splinter-pulling) Jizo. Thereafter, Jizo is popularly regarded as the benevolent guardian of children (especially those who die prematurely), expectant mothers, firemen and travellers. Jizo Bosatsu also takes on six different forms which are collectively known as the Six Jizo. This is probably based on the Sutra of the Ten Cakras of Ksitigarbha that the six Jizo are formed to save sentient beings in the six realms of existence. Till today, Jizo remains one of Japan's most common and widely revered bodhisattva. Many stone statues of Jizo are often seen along the roadside, at the entrances to villages or towns and engraved onto rocks.
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