X \" / 2 () O 7 / i / M a I c r i a I y Kalachakra and the Twenty-Five Kulika Kings of Shambhala: A Xylograph from Prague Luboš Bělka Tlíc Tibetan mythic land, the kingdom of Shambhala is - according to the Tibetan written texts and oral recounting - a parallel world, invisible and inaccessible to common people. This world has only limited connections with the visible world of people and animals.1 The kingdom of Shambhala is the place where the teaching of the Wheel a( Time (Sa. Kalu-ehakra. Tib. Dunkhor I (his khorl) remains preserved. For Tibetans this is its main role, but it is not the only one. According to this Tannic text. Shambhala will be also the place of spiritual and earthly revival after the Buddhist world is saved from destruction by barbaric unbelievers.2 Shambhala as a mythic kingdom probably existed even before the ""Turning Wheel of the Law", that is before the origination of Buddha Shaky a-muni's teaching. If we consider Tibetan sources, we can assume that the first Dharmaraja and ruler of Shambhala, Suchandra. approached the Buddha to ask for the Kalachakra teaching as a king of a country that had * This work was supported by the Grant Agency of the C/ccli Republic. Project No. 401/05/2744 (2005-2007): linage and Te.xľin Buddhism: Tibetan and Mongolian Iconography. The Xylographie thangka is published with the permission oľ the National Museum - Náprstek Museum of Asian, African and American Cultures in Prague. Czech Republic (Collection No. A 16 330). 1 Details see e.g. Gar-je K'am-trul Rinpoche, "A Geography and History of Shambhala", Tibet Journal 3/3, 1978, 3-11. 2 About Tibetan understanding of the term "barbarian" sec e.g. Karenina Kollmar-Paulenz, ''Der Buddhismus als Garant von Frieden und Ruhe: Zu religiösen Legitimationsstrategien von Gewalt am Beispiel der tibetisch-buddhistischen Missionierung der Mongolei in spaten 16. Jahrhundert", Zeitschrift für Religionswissenschaft 11/2. 2003. 202-205; see also Marlin Slobodník, "Čína a 'barbari' - stereotypy v zobrazovaní 'iného'" [China and "Barbarians" - Stereotypes in Depiction of the "Others", in Slovak|. in: Viktor Krupa (ed.). Oriem a Okcident v kontaktoch a konfrontáciacli. Bratislava: Veda 1999. 90-101; see also Martin Slobodník. "The Perception of Tibet in China: Between Disdain and Fascination", Fu Jen Historical Journal 17. 2006. 71-110; and Alexander Berzin, "Mistaken Foreign Myths about Shambhala", (November 1996. revised May and December 2003) (22. 1. 2004). 126 0 l.uhos Bclka all the atlrihuies of a mythic kingdom. This countn dilTcrcd from all the others at that time, later and before in that suffering did not have the extent that is common on earth. In fact, this countn did not really need Buddha's leaching whose main topic was suffering (Sa. iluhkhu). However, what it needed was a historical vision justifying the redeeming, or soterio-logic role of this kingdom, and such vision was present in the KciUicha-kniiaiura. The text, brought here by Suchandra. offered Shambhala the historical prospect, or prophecy. The ..spiritual revival'" of Shambhala is universal in nature, because according to Kalacliakvutantm and other texts relating to Shambhala. after the terminal battle e\er\bod\ will adhere to the only correct religion (Buddhism), universal peace and bliss will embrace all the earth, and barbarians and heretics will be exterminated from the world. The concept of the ..spiritual revival" supposes an antecedent period of decline, which includes our present time and a lew next centuries. ' Traditional!}, the Tibetan myth of Shambhala is closed) related to the leaching about the Wheel of Time and the relevant Tantnc text (Sa. Kalci-cluikraianiro). which originated in northern India in the 10"' or 1 11,1 century. The time when this text, dealing with the Buddhist conception of the end of the world and time (i.e. with an eschatological topic), was written, was characterized by the sensation of danger. In northern India. Buddhism was subject to the growing pressure from traditional Hinduism, and on the other hand, it was endangered by quickly spreading Islam. Both of these facts were projected in the text and the later interpretations of the Tanlra itself. Historical events of the I llh century were recast into a Buddhist vision, or the Buddha's teaching, which was supposed to win over "barbarian Islam" with the help of subordinated (not defeated) Hinduism in the future. The historical reality of the 1 lIh century was however completely different. Buddhism at that time was not the winning religion; as a matter of fact, it went through probably the worst period of its existence in India. After fifteen centuries, it was being driven away from its cradle. There were several causes for the extinction of Indian Buddhism, the most important being the pressure from its religious rivals - the quickly spreading Islam and Hinduism. This, together with the inability of the Sangria to resist strong external influence led to the expulsion of Buddhism to neighboring countries. Even though the time and historical circumstances of the genesis of texts capturing the Shambhala myth are known, these texts cannot be branded as originally Buddhist, since they represent a new interpretation. 3 For details see Anonymus, "Shambhala - The Magic Kingdom", (22. 1. 2004). Kalaclnikm and ilic '/'wculv-Fire Kulika Kin^s of Slianibhala The connection to original Hindu texts is mainly represented in the figure of Kalkin. the chief of Brahman warriors. As John Newman stresses, the Kalachakratanira text was since its verv beginning understood as having two interpretations. The first, esoteric interpretation of the Buddhist myth embraces the illusionary image and thus speaks about an "inner" last battle: the second, exoteric interpretation is about real, factual and thus an "outer" last battle: In fact, the external war will simph be a magical display Kalkin Chaknn will conju-ic up to o\ei whelm the arrogance of the Muslims: through meditative concentration he will radiate counties-- magic hui scs that will captivate the minds of the harhai ians causing them to convert to Buddhism. Furlheimore, the actual war will not take place in the macrocosmos the outside woikl - it will occur within the microcosmos -the hod_\ of the pi actioner of the Wheel ol Time 'lunirn.- Sol'ia Stril-Rever." in the article published on the internet server Btidd-halinc in 2001. stales that all Shambhala rulers are bodhisattvas. One of the most important and typical qualities of every bodhisattva. according to the Buddhist teaching, is the ability to choose the time and place of their rebirth and to choose their parents. That means that each bodhisattva is born on liarth deliberately. One good example of such a situation is the last rebirth of the Bodhisattva as Prince Siddhartha. the future Buddha Shaky-amuni. Bodhisattvas are born out of their own decision and free will, motivated by compassion. To answer the question whether this holds true about mythical Shambhala rulers, we would have to study relevant Indian and, above all, Tibetan sources in great detail. However, the view of Stril-Rever is an isolated one. The succession of rulers in Shambhala is solved in the way that is closer and more comprehensible to our cultural and historical background than is the typical bodhisattva line of rebirth. The Shambhala rulers pass on the reign from father to son. Such a form of succession is typical of monarchical families and has a biological and genetic foundation. In the case of bodhisattvas. for instance in the line of Tibetan Dalai Lamas, a different form of succession was chosen. Every Dalai Lama, being a bodhisattva. intentionally chooses his rebirth, but is born in the same way as any other child. Thus, a problem arises how to tell that a certain child is the new rebirth (the use of the word "reincarnation" is incorrect) of the bodhisattva. To ascertain correctness, the whole institution of procedures of finding and 4 John Newman, "Eschatology in the Wheel of Time Tantra". in: Donald S. Lope/. Jr. (ed.). Buddhism in Practice, Princeton: Princeton University Press 1996. 284-2.S9: 2X5. 5 Sofia Stril-Rever, "Raudra Chakrin. vingt-cinquicme roi-kalkin de Shambhala", (30. 7. 2002). Luboš Bělka recognizing the new tulku developed in Tibet. It is usually a team or a commission who make the first selection of children, out of whom one is chosen as the tulku.6 It means that the line of Tibetan Dalai Lamas represents repealed rebirths of one and only bodhisattva - the patron saint of Tibet, bodhisattva Chenrezig (Tib. spvan ras gzigx: Sa. Avalokiteshvara). As opposed to the Shambhala rulers, the newly born and later recognized Dalai Lama is thus not a son of the preceding Dalai Lama (he would have been rather a spiritual clone of a kind). One of the reasons is that dignitaries of the Gelugpa order in Tibet lived in celibacy (it was not the rule elsewhere, e.g. in Buryatia). another and the decisive one is that the prerequisite for a new tulku is the death of the preceding one. The Shambhala rulers on the other hand pass their empire to their sons, regardless whether they are bodhisaltvas or not. After a short overview of the literary sources (if the Shambhala myth, the historical context and discussion about the status of the Shambhala rulers, we can focus on the various enumerations of them. There exists various lists of Shambhala rulers; they are diverse, because not all Tibetan Buddhist monastic orders hold identical views of this matter. For instance, the list of Tibetan Buddhist order Jonangpa I jo naiig pal differs substantially from the list of another Tibetan Buddhist Gelugpa Idge lugs pal order. As far as the names and succession of thirty-two Shambhala rulers are concerned, they are not identical in Tibetan and Mongolian literature. There are differences in names, numbers and succession.7 For instance, Andrei Mikhailovich Strclkov states that the number of Shambhala rulers could be thirty-three, if Suryaprabhu, the father of Suchandra was acknowledged as the first king.8 Considering this is not a real historical mo-narchial line, the succession and names arc not relevant. For the purposes of this article, it seems appropriate to work on one particular published pantheon as a source. The authority may be the leading Indian Buddholo-gist Lokesh Chandra, who has been extensively engaged in Buddhist iconography, mythology and the Buddha's teaching in general for many 6 See Dalai Lama. Freedom in Exile: The Autobiography of the Dalai Lama. London: Hodder and Stoughton Ltd. 1990. 7 Edwin Bernbaum. 'the Way to Shambhala, New York: Anchor Books 1980. 287: see also Georges Rocrich. "Studies in the Kalacakra". Journal of Urusrali Himalayan Research Institute 2/1, 1932. (Reprinted in: Yuri Rerikh [= Georecs Roerich], Izbrannxe truth- [Collected Works, in Russian], Moskva: Nauka 1967, 151-164. 8 Andrei M. Strclkov. Le^enda o Shamhale pa tibetoxa:xihnxin buddii^kim isioehiiikinn XVIII - nachala XX it. |The Shambhala Legend in the Tibetan Buddhist Sources from the I8lh to beginning of the 20th Centuries, in Russian]. Ulan-Ude: lnstitut Mongolo-vedenia, Buddologii i Tibetologii 2003. (Ph.D. Thesis). 51. Kaluchukru and the Twcnty-Kivc Kulika Kings of Shainhhala years.9 The advantage of using one source lisl is obvious: Ihe differences in names and order of succession seldom concern rulers who are viewed as the key ones in the past, present and future of Shambhaia. and so it is possible to use only one list accompanied with pictorial material. The first important figure is undoubtedly the founder of the kingdom, i.e. the first Charmaraja Pundarika. the second one is the unifier of the empire and the winner of the first Shambhaia battle Manjushrikirti and finally the third one is the winner in the last battle. Rudra Chaknn. The other Dharmarajas and Kulikas do not present such important figures in the Shambhaia history that their life stories would be preserved. Who is Rig-den Jamyang Dragpa, in Sanskrit Manjushrikirti1.' What is the meaning of the Tibetan expression Rigden /rit>\ Ulan/ and the Sanskrit word Kulika1' Rigden. literally translated, means "of a good famih" and in Tibetan it stands for "having an origin, an ancestry". Another variant is "unifier of castes, holder of lineage (succession)". The Sanskrit expression Kulika or Kalki is older and it should be equivalent to the Tibetan Rigden. However, as for instance Audrey M. Strelkov says, the whole matter is more complex. After seven Shambhaia rulers. Kings of Charm a (Sa. dhannaraja: Tib. chogyal Ichos rgxal/) suddenly Kulikas. unifiers of famih'. arrive on the scene due to the fact thai the eighth ruler, being the first to bear the title of Kulika. Manjushrikirti, granted delegation to all Shambhaia inhabitants (Sa. abhisheka, Tib. wang Idbangl). united them, and invited them to the Kalachakra mandala. Thus, he was the ruler who united the Shambhaia people into one spiritual family. The existence of various, overlapping, but different lists of names of Shambhaia rulers is evidenced by the following enumeration of Sanskrit names of seven Oharma Kings, Dharmarajas. and twenty five lineage (succession) holders, Kulikas, which was provided by current monks of Nam-gyal monastery in Dharamsala: Kings of Dharma 1. Suchandra 2. Devendra 3. Tejasvin 4. Chandradatta 5. Deveshvara 6. Chitrarupa 7. Dcvesha 9 About his work Saui-Pitakti Series ("One Hundred Baskets") sec e.g. Josef Kolmas. Suina tibetxkeho pisemnictvi [Sum of Tibetan Literature, in Czech], Praha: Argo 2004. 55-56. 30 0 Lithoš Bělka Lineage holders 8. Manju Yashas 21. Chandraprabha 9. Pundarika 22. A n an la 10. Bhadra 23. PaUhiva 1 1. Vij ay a 24. Shiipala 1 2. Milrabhadra 25. Singha 13. Ratnapani (Raktapani) 26. Vikranta 14. Vishniigupta 27. Mahabala 1 5. Sun akirli 28. Anirodha 16. Suhhadra 29. Narasingha 1 7. Sanuida ViJava 30. Maheshvara 18. Durdjava 31. Anantajaya 19. Siirya ' 32. Raudra Chakri 20. Chitrarupa In his work on Buddhist iconography, the outstanding Italian Buddho-logist and Tibelanist Giuseppe Tucci provides information on the origin of Shambhala rulers and the list of these rulers itself, which is based on Tibetan sources, particularly on the works of the 14-1 h century historian, Bu-ton Rinchendub (//;» sion tin chen grub, 1290-1 364). Lokesh Chandra slates that the following seven Dharmarajas and twenty-five Kulikas (Tib. rigden nyemga/ng.v Idan nyer Ingal) are Shambhala rulers (names in Sanskrit were added later); the first number stands for the serial number of the ruler regardless whether he is a Dharmaraja or a Kulika: (1.) 1. Chogyal Dawazang Ichos rgyal z,la ha bz.angL Sa. Dharmaraja Suchandra. (2.) 2. Chogyal Lhaiwang Ichos rgyal Ilia yi dbangl. Sa. Dharmaraja De- vendra. Sureshvara.10 (3.) 3. Chogyal Zijieen Ichos rgyal gzi hrdzhid caul., Sa. Dharmaraja Tc- jasvin (4.) 4. Chogyal Dawechin Ichos rgyal zla has byinl. Sa. Dharmaraja Chandradatta (or Somadatta). (5.) 5. Chogyal Lhaiwangchug Ichos rgyal lha'i dhang phyiigl. Sa. Dharmaraja Deveshvara (or Sureshvara). (6.) 6. Chogyal Nalshogzug Ichos rgyal sua Ishogs gz.ugsl. Sa. Dharmaraja Chitrarupa (or Vishvamurti). 10 Another variant of the Tibetan and Sanskrit name of the seeond Dharmaraja is published in the Collection of 156 images of the deities of the Mongolian Kalachakra Man-dala: Lhaiwang Chugchen /Ilia yi dbang phyug chenl see Andrey A. Terentyev. Op re-deliteľ buddiiskikli izobrazhenii/ Buddhist Iconography Identification Guide. Sankt-Petcrsburg: Nartang 2004. 256, Fig. 2a. 131 9 Kalucluikni and /lie Twenty- l-'ive Kuliku Kings of Shamhliiila (7.) 7. Chogyal Lhaiwangden leheis royal llia'i dining Idem/. Sa. Dhar-maraja Devcsha (Surcshana). (8.) 1. Rigden Jampal Dragpa /rigs Ulan 'jam dpal grogs pa, 'jam dhy-angs grogs/.11 Sa. Kuliku Manjushi ikirti, also known as jYlanju Yas-has. His attributes are a book (Sa. pitstoka: Tib. poti Ipo id or leg-bam Iglegs bond, pecha Idpc died) and a sword12 (Sa. asi. khodga. Tib. raldri I ml sgril) - as the only figure in the list possessing these two attributes. Manjushrikirti is together with the last Shambhala King Rtidra Chakrin a manifestation of the bodhisatlva Manjushri.1; The book is in this case Tibetan religious text which is in an ornately carved wooden book cover (Sa. piisiakaslitho: Tib. legshing Iglegs sl,ing/).]i (9.) 2. Rigden Pemakar /rigs Ulan petelma dkarl. Sa. Kulika Pundarika. his attributes are prayer beads /rosary/ (Sa. mala: Tib. thengwa /'/;//-rcng ha/) and lotus blossom (Sa. peidma. komedo. iiipeda: Tib. padma. pern a Ipadinal /pad ma/, chukye Icliu skyesl, ulpala lul pa led/). (10.) 3. Rigden Zangpo I rigs Ulan bzang pol. Sa. Kulika Bhadra. his attributes are a wheel (Sa. chakra. Tib. khorlo Tklior lol: berdo I be relol) and a while conch shell (Sa. slianklier. Tib. dungkar /dung dkarl). (11.) 4. Rigden Namgyal I rigs Idem rneim rgyoll. Sa. Kulika Vijaya. his attributes are an elephant goad or iron hook (Sa. ankiisber, Tib. chagkyu llccigs kyid) and a snare, noose or lasso (Sa. pasha; Tib. zhagpa /zlieegs pal). (12.) 5. Rigden Shcnycnzang trigs Ulan bslies gnyen bzangl. Sa. Kulika Mitrabhadra (or Sumitra) his attributes are a bow (Sa. elhemus, clia-pa. sareiseuia, kodanda, kormitka. sarngei: Tib. shu Igshtd) and arrow (Sa. sarei, ish, beina: Tib. da ImdeiI). (13.) 6. Rigden Rinchenchag /rigs Ulan rin eiien phyogl. Sa. Kulika Rat-napani/Raklapani, his attributes are a vajra (Sa.; Tib. dorje Irdo rjel) and bell (Sa. ghanta, Tib. drilbu Idnl bid). (14.) 7. Rigden Khyabjugbelw a I rigs Ulan khyab 'jug sbal bed. Sa. Kulika Vishnugupta, his attributes are a trident (Sa. irisliidei: Tib. tsesum /rise gsumf thishula Irti slut led) and prayer beads /rosary/). 11 Lokcsh Chandra. Transcendental An of Tibet. (Sata-Pitaka Scries 385). New Delhi: International Academy of Indian Culture and Adilya Prakashan 1996. 77. 12 Robert Beer. The F.ncyclopeelia of Tibetan Symbols emit Motifs, London: Serindia Publications 1999. 276-277, Plate 123. 13 See Tsyren-Bazar Badmazhapov (cd.). Ikonografia Vatlzhrayany, [An Iconography of Vajrayana. in Russian] Moskva: Dizain - Informatsia - Karlografiia 2003. 384-385. Fig. 346-347. 14 R. Beer, The F.ncyclopeelia of Tibetan Symbols.... 223-224. Plate 103. 132 # Luboš Bělka Fig. 1. Sahaja Kalachakra and the Twenty-Five Kulika Kings of Shambhala, black and white xylograph, Mongolia, ca. 51.5 x 39.2 cm, from Asian collections of Náprstek Museum of Asian, African and American Cultures in Prague, Czech Republic (Collection No. A 16 330). The xylographic thangka is published with the permission of the Museum. (15.) 8. Rigden Nyimadrag /rigs Idan nyi ma gragsl, Sa. Kulika Surya-kirti (or Arkakirti) his attributes are a sword and shield (Sa. phala-ka, khetaka, charma; Tib. phub Iphubl). (16.) 9. Rigden Shinluzangpo /rigs Idan shin tu bzang pol. Sa. Kulika Subhadra, his attributes are the same as in the previous ease. i.e. a sword and shield. (17.) 10. Rigden Gyalsho Namgyal /rigs Idan rgya mlsho mam rgyall, Sa. Kulika Samuda Vijaya, his attributes are an axe (Sa. parashu, kuthara, kulisha: Tib. drata Idgra stal. tare Isia re/) and a severed head of Brahma (Sa. brahmamukha; Tib. ishang pa'ingo bo). (18.) II. Rigden Gyalka Irgyal dkal, Sa. Kulika Durjaya, Aja, his attributes are a club (Sa. danda, gada; Tib. chugpa Idbyug pal, chuglo Fig. 2. Lineage holders (Tib. Rigdens, Sa. Kulikas) and Sahaja Kalachakra: (1) Jampal Dragpa (Sa. Manjushrikirti) (2) Pemakar (Sa. Pundarika) (3) Zangpo (Sa. Bhadra) (4) Namgyal (Sa. Vijaya) (5) Shenyenzang (Sa. Mitrabhadra or Sumitra) (6) Rinchenchag (Sa. Ratnapani/Raktapani) (7) Khyabjugbelwa (Sa. Vishnugupta) (8) Nyimadrag (Sa. Suryakirti or Arkakirti) (9) Shintuzangpo (Sa. Subhadra) (10) Gyatsho Namgyal (Sa. Samuda Vijaya) (11) Gyalka (Sa. Durjaya or Aja) (12) Wonang Nyima (Sa. Surya) (13) Dawa'i Wo (Sa. Chandraprabha or Shashi) (14) Natshogzug (Sa. Chitrarupa or Vishvarupa) (15) Sakyong (Sa. Parthiva or Mahipala) (16) Thayenyen (Sa. Ananta) (17) Sengge (Sa. Singha/ Simha or Harivikrama) (18) Pelkyong (Sa. Shripala) (19) Namparnon (Sa. Vikranta) (20) Tobpoche (Sa. Mahabala) (21) Magagpa (Sa. Aniruddha) (22) Misengge (Sa. Narasimha) 23) Wangchug (Sa. Mahabala or Maheshvara) (24) Thaye Namgyal (Sa. Anantajaya) (25) Dragpo Khorlochen (Sa. Rudra Chakrin) (26) Dukhor Lhankje (Sa. Sahaja Kalachakra) (27) Dorje Sempa (Sa. Vajrasattva) CM Cft) iff r - % ft. nisi HIM Ů W 134 0 Ltbos lielka Idbxug to/, bcchon /be conl. bcng Ibengl) and iron chain (Sa. srink- Uala. sphoia: Tib. chagdrog llchags sgrogl). \ 19.) 12. Rigdcn Wonang Nyima /rigs Idem 'od snaiix nyi nut/. Sa. Kuli- ka Surya. his attributes are an axe and noose. (20.) 13. Rigden Davva'i Wo /rigs Idem zla ha'i 'od/. Sa. Kulika Chan- draprabha. (or Shashi) his attributes are a wheel and conch shell. (21.) 14. Rigden Natshogzug /rigs Ulan sua tshogs gz.ugsl. Sa. Kulika Chiirarnpa. (or Vishvarupa) his attributes are a hook and noose. (22.) 15. Rigden Sakyong /rigs Ulan sa skxong/. Sa. Kulika Parlhiva (or Mahipala) his attributes arc a curved knife or chopper (Sa. kartri. kartari: Tib. drigug /gri gug/) and a skull or skull-cup (Sa. kapala: Tib. thopa lihod pal. kapala Ika pa la/, baudha /ban dhal. dungchen /dung clienl). (23.) 16. Rigden Thayenycn /rigs Ulan nulla' xas gnxen/. Sa. Kulika Ananla. his attributes air a hammer (Sa. nmdgara: Tib. thou a lilio hal) and lotus blossom. (24.) 17. Rigden Senggc /rigs Ulan seng gel. Sa. Kulika Singha/ Simha (or Harivikrama) his attributes are a vajra and bell. (25.) 18. Rigden Pelkyong /rigs Ulan dpal skxongl. Sa. Kulika Shripala. his attributes are a trident and a tantric staff (Sa. khatvanga: Tib. khalamga Iklia tarn gal, khatvvamga Iklta twain gal). (26.) 19. Rigden Namparnon /rigs Ulan main par gnonl, Sa. Vikranta, his attributes are a club and iron chain. (27.) 20. Rigden Tobpoche /rigs Ulan slobs po click Sa. Kulika Mahaba- la - he is the only one Shambhala ruler depicted without the aura a- round his head, his attributes arc a drum clamant and cup of gems. (28.) 21 Rigden Magagpa /rigs Ulan ma 'gags pal. Sa. Kulika Anirudd- ha, his attributes arc a hook and noose. (29.) 22. Rigden Misengge /rigs Ulan mi'i seng gel. Sa. Kulika Narasim- ha (literally "Human lion"), his attribute is a wheel. (30.) 23. Rigden Wangchug /rigs Ulan dbang pliyngl. Sa. Kulika Maha- bala (literally "Big powerful"), or Maheshvara. his attributes are a chopper and skull cup. (31.) 24. Rigden Thayc Namgyal /rigs Ulan mtha xas mam rgxatl, Sa. Kulika Anantajaya (literally "Unlimitedly victorious") his attributes are a vajra and bell. (32.) 25. Rigden Dragpo Khorlochen /rigs Ulan drag po 'khor lo cluml. Sa. Kulika Rudra Chakrin.15 his attributes are a spear (Sa. kitnta. sliakti. sliula: Tib. dung Imdungl) and shield. 15 Sec Tsyren-Bazar Badma/hapov (ed.), Ikanografia Vadzhrayanx, [An Iconography of Vajravana. in Russian] Moskva: Di/ain - Informalsia - Kartoerafiia 2003. 387-388, Fig. 349-350. Kiilacliakra and the I'wcitix-I- ixc Kuliku Kings of Sltanibliala An Image of Kalachakra and the Twenty-Five Kulika Kings of Shambhala is usually made in colors on painted scrolls (Tib. thangka) and temple frescoes and it is also executed in black and white and printed from xvlo-graphic matrixes on silk, canvas or other type of fabric. One of these depictions, so far not published in literature, is found in the collections ol'Na-prstek Museum of Asian. African and American Cultures in Prague. Czech Republic (Collection No. A 16 330). The Prague xylographic thangka is printed in black from a wooden matrix on a thin, damaged, yellowish white cloth. There are one central figure and twenty-six other figures: they are positioned around the central and biggest figure of Kalachakra. Its height is 51.5 cm: its width is 39.2 cm. We may assume that it comes from Mongolia, one reason being that the donor, who he gave it to the museum in the mid-1 ySO's. acquired it in Mongolia and the other reason being that its stvle is similar to a colored thangka with a similar motif and composition found in the collections of Zanaha/ar Museum in the capital of Mongolia Ulaanbaatar."'1 The central figure ol the \\ lograph is Kalachakra with his partner Vish-vamatra. it is a standing figure in the yab-yum position (Tib., means "lather-mother position"). The almost naked body is adorned with ribbons and Kalachakra is clad in tiger skin and he wears also a necklace or garland of severed human heads (Sa. clunnamunda mala; Tib. dbu bead ma' phivng ba).]1 which is not clearly visible in the Prague depiction. Kalachakra is most often depicted with lour faces, twenty four arms and two legs;18 in this case he is depicted as Sahaja Kalachakra (Sa.: Tib. Dunkhor Lhankye Idus 'khor Ihan skyes/) with his partner Vishvamalra; (Sa.; Tib. Natshog Yum Isna tslings yum/) and it is a "simpler" version of this yidam, when Sahaja Kalachakra has only one head, three eyes, a Tantric crown and large circular earrings in his ears. He also has only two arms, embracing his partner. In his right hand he holds a vajra and in his left hand he holds a bell. This is a gesture of the highest energy (Sa. xajrahumkara mudra).19 16 Sec Patricia Bcrgcr - Terese Tse Bartholomew. Mongolia: The Legacy oj Chhtggh Khan, London - San Francisco: Thames and Hudson 1995, 183-185: see also (22. 1. 2007). 17 R. Beer. The Encyclopedia of Tibetan Symbols.... 3 17, Plate 137. 18 Frederick W. Bunee, An Encyclopaedia of Buddhist Deities, Demigods. Codlings. Saints and Demons: With Special hocus on Iconographic Attributes I. New Delhi: D. K. Print world 1994. 241; see also e.g. Giuseppe Tucci. Tibetan Painted Scrolls 111: Description and Explanation o) the Tonkas, Rome: Liberia dello Stato 1949. 371-372. Plate 5 I; Laura Harrington (cd.). Kalachakra: Namgyal Monastery. Roma: Tibet Domani 1999. 79-90: Marylin M. Rhie - Robert A. F. Thurman. Wisdom and Compassion: the Sacred Art of Tibet (Expanded Edition), London: Thames and Hudson 1996. 480. Fig. 236 (156aj. 19 P. Bcrger - T. T. Bartholomew. Mongolia: The Legacy.... 1X3. Luboš Bělka or the gesture of victory over three worlds (Sa. hamkara mudra: Tib. humd/ekyi chaggya Ilium mdzad kyi phxag rgyal). Sahaja Kalachakra. like his partner, has two legs, whereas his right leg is red. the left leg is white: Sahaja Kalachakra is of a dark blue color and his partner yellow or golden. Although the Prague xylograph is black and white, in literature we can find relevant colors thanks to the fact that two colored reproductions of this type of Sahaja Kalachakra have already been published. The first is similar to the Prague depiction mainly in its composition, i.e. it captures Sahaja Kalachakra and twenty five Shambhala rulers:2" the either one depicts Sahaja Kalachakra with his partner and it is a unique picture from a xylo-graphic collection dating back to the beginning of the Is"'1 century, known under an older and not precise title Five Hundred Deities of Ncirtliang: the original and correct title is Icons Worthwhile lo See Ihris skit mlhong ha don Idanl. Tlie first complete edition of mechanical reproductions of the whole xylograph was brought by the Japanese researchers Musashi Tachikawa. Mori Masahide and Yamaguchi Shinobu at the turn of the 2()lh and 2 b1 centuries.21 Another complete edition, also based on the original xylograph, forms a siti generis unique specimen. It is a recent publication of the "Zurich copy", which is manually colored on the original xylograph. Through the efforts of Martin Willson and Martin Brauen not only the colored reproductions of these paintings were published, but both authors processed this material with great solicitude, including various comparisons of the xylograph Icons Worthwhile to See Ihris sku mihong ha don Idanl already published. Here, we find the following text describing Sahaja Kalachakra: He is blue, wilh one face and two arms, holding a vajru and bell and embracing the Mother. His bent left leg, which is white ... and his extended, red right leg ... He has a topknot of tresses and the crow n of his head is adorned with a wish-granting gem and a crescent moon. He has vajra ornaments and a tiger-skin loincloth. His thumbs are yellow, the forefingers white, the middle fingers red, the ring fingers black and the little fingers green. On the palm side, the first sets ol finger-joints are black, the second red and the third white, lie is crowned with Vajrasatlva and is in the middle of a five-colored fire mountain. His consort is Vishvamatra, yellow, with one face, two arms and three eyes. She holds a knife and skull and is embracing the Father. Her legs in piutxdlidhu (right bent), she is in union with him. She is naked and adorned with the five symbolic ornaments, her hair half loose." 20 Ibid.. 182-184. 21 Musashi Tachikawa - Mori Masahide - Yamaguchi Shinobu, Five Hundred Buddhist Deities, (Semi Ethnological Reports 2). Osaka: National Museum of Fthnology 1995. 22 Martin Willson - Martin Brauen. Deities of Tibetan Buddhism: The Zurich Paintings of the Icons Worthwhile lo See. Boston: Wisdom Publication 2000. 254. see also 54-55. Kcdaehakra and the Iweun-11\ c Kulika Kings < if Shanihliala The Prague xylograph - similarly to Ulaanbaatar lhangka - comprises a short Tibetan inscription at the bottom of the picture. Transliteration of the text is as follows: rigs [Jan ny or Inga'i slu hi n\ an Mi// niklu ido'i grwa I sluing tsliugs skabs su//i la mg-rin /lies lna g_\ i na bas// b/hengs ba'i dpar brko jam dhyang kyis// bgyis pa'i dgc bas pha ma sogs// shambha la ru skyes par shoe// and translation: This depiction of t\\ cnl\ - five Kulikas u as loi nied in the lime ot establishing ihc Miliar nit • monaster) and caused In the illness o I one called Tamdrin h-ni mvrinl. B\ l he virtue of engra\ing work of Jams anc :jam .//n.i/i.e.v/ let patents and others he born in Shambhaia.-"' There are two forms of depiction of Tibetan deities and figures of the pantheon, i.e. quiet, peaceful and w ralhful. angry forms. As far as Shambhaia rulers are concerned, depictions of the last Kulika Rudra Chakrin are best known. The Prague (hangka is a (\ptcal example of (he first, quiet depiction. Due to the fact that similar depictions of twenty live Kulikas and Kalachakra (we have in mind just those pictures where only these figures arc present without the context of the capital city of Kalapa and the last Shambhaia battle) have not been extensively published and described in the world literature, we can say that the Prague thangka represents a rare type of depiction, and therefore it deserves our attention. It does not mean that this depiction type was not widespread in Inner Asia, particularly in Tibet, Mongolia and Buryatia. The contrary is true, we may assume that it was quite common, which is evidenced by the fact that the thangka is an uncolored xylograph of rather rough appearance. It was probably intended lor purchase by common believers, who then placed il on the home altar in their yurt. nomadic lent or a village or city dwelling. That is a xylo-graphic black and white thangka. a typical representative of folk art. or art created to suit vast masses of common Buddhists. In the end we must mention one big peculiarity. Although this type of thangka (Kalachakra and the Twenty-Five Kulika Kings of Shambhaia) have been described and reproduced in literature, this particular thangka has not yet been published in expert literature. The only known copy printed on while canvas and found in Prague was unexpectedly joined by another copy, printed on red canvas, found in the collection of Rudolf Pe- Fig. 72: the same text written In Jamyang Kycntse Wangpo. 1X20-1892 see (22. I. 2007). 23 Translated by Daniel Berounský. ! 3,X 0 Luboš Bělka sl (Pesl-Stiľtiing) in Munich.24 Probably the most remarkable fact is that both the above-mentioned copies were printed from one and the same Xylographie matrix in Mongolia in the 19"1 century. It is quite a rare case for the same prints to appear in the same time once in a Czech and once in a German collection. RESUML Káhičakra a ch.iďl pít kulíků: pni/ská xylografie Příspě\ek se /ah\\á ikonogialickýin popKem \/.ícné mongolské .\_\ logiafické thangk) zach\cující božstvo Kola času isa. Kálačakia) a dvacet pěl kulíku, králů huddlnstického m\-lického království Šamhhah. Tento typ /ohrazení b) 1 sice v literatuře již popsán a reprodu kován, tato konkrétní lhangka dosud publiko\ána nebyla. K jedinému dosud /námému exempláři v tibetské sbírce Náprstkova mu/ca v Pia/e nečekaně přibyl excplář další, provedený pro změnu na červeném plátně a nacházející se ve sbírce Rudolľa Pesla (Pcsl-Stiľ-tung) v Mnichově. Oba exempláře jsou tištěné /e stejné xylograťické matrice v 19. století v Mongolsku. Zobrazení třiceti dvou šambhalských vládců, dharmaiád/ů a kolíků je v tibetském buddhismu poměrně časté, vzácnější je zobrazení pouze kulíků, jako je tomu na popisované thangee. Obraz obsahuje i tibetský text zachycující okolnosti vzniku tého thangky. Ústav religionistiky Luboš Bělka Filozofická fakulta Masarykova univerzita e-mail: belka@phil.muni.cz Arna Nováka 1 602 00 Brno 24 Sec Alia Gomboyeva. "Vmesterozlidennyi Kalachakra. cherno-belaya ksilografiia" [Innate (Sahaja) Kalachakra. Black and White Xylographie Thangka. in Russian], Description of the from the Rudolf Pesl Collection, unpublished manuscript. OBSAH Studie 3 ]',■<■ i >: .v. Horyna. Kulturní věda - další dilema religionistiky 29 David Zbíral. Ve dva bohy včřiti nebudeš. Konstruování ,.kalarského dualismu" v inkvizičních registrech 47 Kateřina Čapkova. Židovská náboženská komunita v českých zemích mezi válkami Rozhledy 69 Alhs Chalupa. Vzestup křesťanství a Boží města. Několik kritických poznámek k práci Rodneyho Starka 87 Zdknhk R. Nešpor. Brněnský výzkum religiozity z roku 1930. Současná interpretace Materiály 109 Daniel Berounský, Vrány rozsévající děs a červi s železnou tlamičkou. Pekla v tibetském textu abhidharmy 125 Luboš Bělka, Kalaehakra and the Twenty-Five Kulika Kings of Shambhala: A Xylograph from Prague Zprávy 139 David Václavík, Konference Evropské asociace pro studium náboženství v Bukurešti 142 Jakub Havlíček, Mezinárodní konference „Náboženská změna" v Bratislavě 144 Ondřej Sládek, Sympozium o díle M i reci Eliada v Praze Recenze 147 Jiří Křejř. Z počátků české reformace (Pavel Spunar) 148 Per Antes. Grundriss der Rcligionsgeschichtc. Von der Prähistorie bis zur Gegenwart (Břetislav Horyna) 15 I Henryk Hoffman. Dziejc polskich badari rcligioznawczych 1873-1939 (To.maš Bubík) 154 Joshua A. Fishman - Tope Omoniyi (cds.), Explorations in the Sociology of Language and Religion (Lucie Hi.avinkova) 156 Martin Slobodník - Attila Kovács (eds.), Politická moc verzus náboženská autorita v Ázii (Martin Farek) X \ / 2 O O 7 / 1 Religio. Revue pro religionisliku vychází dvakrát ročně. Cena jednoho čísla je 70 Kč (v zahraničí 15 USD. 26 EUR). Objednávky jednotlivých čísel i celého ročníku přijímá redakce. Poštovné není zahrnuto v ceně. Religio. Revue pro religionisliku appears twice a year The price of one issue is 70 CZK or 30 USD. 26 EUR Orders can be made to the editorial board. Postage is not included. POKYNY PRO AUTORY Redakce přijímá příspěvky pro tyto rubriky: (a) Studie. Odborné stali v rozsahu 20 - 25 normostran (36 000 - 45 000 znaku vč. mezer). (b) Rozhledy. Kratší pojednání o dílčím problému, přehledové stati, diskusní příspěvky a-pocl. v rozsahu 10 - 15 normostran (18 000 - 27 000 znaků vč. mezer). (c) Materiály. Edice kratších pramenných textů, překlad) původních materiálů s komentářem, obrazový matci iál apod. v rozsahu 5 - 10 normostran (9 000 - 1 S 000 znaků v č. mezer). (d) Zprávy. Důležité události v oboru, zprávv z konferencí atd. v rozsahu 2 - n normostran (3 600 - 9 000 znaku vč, mezer). (e) Recenze. V rozsahu do 5 normostran (9 000 znaků vč. mezer). Zájemce o publikování v časopise Religio prosíme, aby se při zpracování svých příspěvku řídili následujícími pokyny. Odkazy na literaturu i vysvětlivky uvádějte v poznámkách pod čarou podle následujících vzorů: • Gcrd Thcisscn, Sludien zur Soziologie des Urchrisleniuins. (WisscnsehaUliche Untcr-suchungen zum Ncucn Testament 19), TUbineen: J. C. B. Mohr (Paul Siebeck) -"1989, 47-53. Zkrácená citace: G. Thcisscn, Sludien zur Soziologie.... 47-53. John Scheid, „The Rcligious Roles of Roman Womcn", in: Pauline Schmitt-Pantel (cd.). A Hisiory of Women in ihe West. Cambridge - London: The Belknap Press of Harvard University Press 1992, 377-408: 395. f celý rozsah: citovaná stránka] Zkrácená citace: J. Scheid, „The Rcligious Roles...", 395. David Zbíral. „Niquintova listina a historiografie katarství v 17. století". Religio 13/2. 2005, 310-317: 315. [ročník/číslo, rok vydání, strana: celý rozsah: citovaná strana] Zkrácená citace: D. Zbíral. ..Niquintova listina...", 315. 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