Material: Cloth. Printing. Scroll. (Samantabhadra Tathagata)

Size: Approximately 122 x 83 cm

Description:

Samantabhadra Tathagata (Tibetan: Kuntuzangpo, Sanskrit: Samantabhadrarāja Tathāgata) is revered as the Adibuddha in Tibetan Buddhism, especially in the Nyingma and Bon religions, and symbolizes the origin of the universe and the pure Buddha nature (i.e. Tathagatagarbha) in the hearts of all sentient beings. His "dual cultivation" (or "dual body") image is often presented in thangka art in the form of embracing (Tibetan: yab-yum, father-mother phase) with the Buddha Mother Samantabhadrī, expressing profound religious and philosophical implications. The following will explain the meaning and origin.

1. The significance of Samantabhadra Tathagata's dual cultivation in thangka

1. **Symbolizes the origin and perfection of the universe**:

- Samantabhadra Tathagata is regarded as the Dharmakaya Buddha, representing the fundamental truth and original purity of the universe. The "father-mother" image (Samantabhadra Tathagata and Samantabhadra Buddha Mother) in the dual cultivation image symbolizes the combination of wisdom (Buddha Mother) and compassion (Buddha), reflecting the unity of emptiness and manifestation. This is the core concept of the practice of the highest yoga department of Tibetan Tantric Buddhism, emphasizing the transcendence of duality and achieving the ultimate state of perfection.

- In thangka, Samantabhadra Tathagata usually appears in blue, without clothes, symbolizing the pure nature of the Dharmakaya without form and attachment; the Buddha Mother is white, representing emptiness and wisdom. The two embrace each other, expressing the "dual operation of convenience and wisdom", that is, the inseparability of compassion and wisdom in practice.

2. **Visualization of Tantric practice**:

- The dual cultivation image in thangka is not only an artistic expression, but also a tool for practitioners to visualize. The dual-body image of Samantabhadra helps practitioners meditate on the original pure state of the universe. By visualizing the union of the deity and the Buddha Mother, they can realize the Buddha nature inherent in their own mind and then realize the state of Dzogchen.

- This image is particularly important in the Dzogchen of the Nyingma school, because it is considered to be the source of the Dzogchen teachings and was introduced to Tibet by Guru Padmasambhava. The painting of thangkas must follow strict religious norms, and the painter practices through the painting itself to ensure that the work can convey the compassion and wisdom of Buddhism.

3. **Symbols beyond the secular world**:

- The dual-body image of Samantabhadra may be misunderstood as a secular union of men and women, but its true meaning lies in transcending the secular binary opposition and expressing the state of harmony between the original purity of the mind and the universe. The dual-body image of Samantabhadra in the thangka concretizes the abstract Tantric philosophy in an artistic way, guiding the viewer to deeply understand the profound meaning of Buddhism.

2. The Origin of the Image of Samantabhadra in Dual Practice

1. **Religious and Philosophical Origins**:

- The concept of Samantabhadra originated from the Anuttarayoga Tantra of Tantric Buddhism, and is particularly respected in the Nyingma and Bon schools. He is regarded as the first Buddha in the universe, transcending time and space, and representing the pure nature of all sentient beings. The corresponding Samantabhadra symbolizes emptiness, and the combination of the two is the embodiment of the Tantric concept of "dual practice".

- This idea is closely related to the influence of Indian Tantric Buddhism, especially the inheritance of Kalachakra and Dzogchen. The image of Samantabhadra in dual practice often has visual similarities with the combination of Shiva-Shakti in Hinduism in thangka, but the connotation is completely based on the Buddhist philosophy of emptiness and compassion.

2. **Historical Context of Thangka Art**:

- Thangka (Tibetan: thang-ka) originated in the Tubo period (about the 7th century) and is a unique scroll painting form of Tibetan Buddhism that is easy to carry and worship. The appearance of Samantabhadra's dual cultivation image in thangka is closely related to the spread of the Dzogchen of the Nyingma school. As a religious art, thangka is not only a decoration, but also a tool for practice. Its painting must follow strict classic norms and use mineral pigments and gold foil to ensure that the color does not fade over time.

- The painting of Samantabhadra's dual cultivation image must be completed by a senior thangka painter. The painter needs to study Buddhist scriptures and painting skills for many years, integrate religious concepts into the painting, and make it a carrier of the inheritance of Buddhism.

3. **The unique status of Nyingma and Bon**:

- Among the various sects of Tibetan Buddhism, Samantabhadra is mainly worshipped in Nyingma and Bon, and other sects (such as Gelug and Sakya) rarely practice it. Nyingma believes that the Dzogchen originated from Samantabhadra and was introduced to Tibet through Guru Padmasambhava. Therefore, his dual cultivation image is particularly common in Nyingma thangka as a visualization object for practicing the Dzogchen.

- Bon (Tibetan native religion) also regards Samantabhadra Tathagata as the highest deity, and its dual cultivation image reflects the unique artistic style of the fusion of Bon and Buddhism.

III. Summary

The dual cultivation image of Samantabhadra Tathagata in Tibetan Buddhist thangka symbolizes the unity of wisdom and compassion, and embodies the original purity of the universe and the state of perfect practice. Its origin is closely related to the Dzogchen of the Nyingma School and the original Buddha thought of Bon religion. It integrates the influence of Indian esoteric Buddhism and is passed down through the exquisite skills of thangka art. This image is not only a treasure of religious art, but also an important tool for practitioners to visualize Buddha nature and realize emptiness. The painting process of thangka itself is the practice of the painter, carrying the mission of spreading Buddhism.

Samantabhadra Tathagata Dual Cultivation (printed thangka with cloth frame)