Options
Dakini : a study of female enlightenment
Author
Chua, Yen
Supervisor
Presser, Lutz
Leong, Jane
Abstract
The main purpose of this research is to establish the nature and truth about the existence of Dakinis and to understand the general meaning, significance and their role in Buddhism. It is an effort to understand her spiritual realizations, activities and classification. While this dissertation revolves around the world of Dakinis, it also researches the path of a female practitioner towards enlightenment of Buddhahood, the ultimate goal of all Buddhist practitioners. This is essential because the real meaning of the term Dakini is that of 'an enlightened female being' who has surpassed the realm of suffering in which according to Buddhism all the beings are continuously reborn taking various forms.
Although the term 'female enlightenment' does suggest direct relation with female gender, the nature of the subject is such that when fully understood, the gender divisions have no meaning or bearing upon the subject of study. According to Buddhist perception, an enlightened person surpasses all concepts and dualities of the world except for their relative representation and relevance. Therefore, although in absolute terms, the gender of Dakini is given no consequential importance for the correct understanding of the subject, I have tried to accord relevant and appropriate attention to the femaleness of the Dakini whenever necessary.
The Vajrayana tradition of Buddhism in which the realm of Dakini is based involves visualizations of many deities who have different manifestations of wrathful, semi wrathful and peaceful forms to suit specific religious purposes. The Dakinis, who possess similar or at times even higher position in this stratum, are also described to manifest as deities too. Therefore like these deities, the Dakinis too are depicted in intricately drawn Thangka paintings, bronze, copper or gold statues and similar forms in the religious art tradition of Tibet.
Hence, a general study of Dakini iconography, symbolism and motifs used in traditional Tibetan art became necessary. Art, my main vocation, came as a blessing in disguise as great meaning and significance are attached to the symbolism in these paintings and objects in the Tantra, the body of Vajrayana teachings. To complement the understanding of the subject, I decided to employ both painting and dissertation as means to investigate the world of Dakinis.
The study uses visual examples of traditional Tibetan Thangka paintings and statues to conduct a short study of the Dakini iconography. My interpretation and understanding of the Dakini also consists of a series of paintings produced by me as part of this research. In my illustrations, the very symbolism and motifs used in traditional Tibetan art are employed to expound my knowledge and understanding of the Dakinis in a representative way. In each of the thirteen paintings that I have done, a different aspect of the Tantric tradition to which the Dakini belongs and the spiritual achievement that she possesses is represented. The paintings were exhibited at the NIE Art Gallery. They are an inseparable part of my study because with the augmentation of my knowledge about Buddhism, the inspirations to do these paintings have arisen.
The main method of study for this research was documentary analysis and interviewing of intellectuals. For that I had to travel extensively in the Himalayan region of India where most of the Tibetan Buddhist Masters reside. Among them were His Holiness Sakya Trizin who is head of the Sakya School of Tibetan Buddhism, His Holiness Drikung Kyabgon, the head of the Drikung sub-sect of Kagyu School and Venerable Khandro Rinpoche who is one of the most prominent female reincarnations in Tibetan Buddhism and is widely considered to be a living Dakini.
Apart from that, I was also very privileged to meet many other women masters and practitioners who were known to be living Dakinis and widely respected. The interviews with the masters were not only rare pronouncements on this subject but very enlightening too. It was from their profound knowledge and practice of the Buddha's teachings that I learnt many things about the Dakinis.
Although the term 'female enlightenment' does suggest direct relation with female gender, the nature of the subject is such that when fully understood, the gender divisions have no meaning or bearing upon the subject of study. According to Buddhist perception, an enlightened person surpasses all concepts and dualities of the world except for their relative representation and relevance. Therefore, although in absolute terms, the gender of Dakini is given no consequential importance for the correct understanding of the subject, I have tried to accord relevant and appropriate attention to the femaleness of the Dakini whenever necessary.
The Vajrayana tradition of Buddhism in which the realm of Dakini is based involves visualizations of many deities who have different manifestations of wrathful, semi wrathful and peaceful forms to suit specific religious purposes. The Dakinis, who possess similar or at times even higher position in this stratum, are also described to manifest as deities too. Therefore like these deities, the Dakinis too are depicted in intricately drawn Thangka paintings, bronze, copper or gold statues and similar forms in the religious art tradition of Tibet.
Hence, a general study of Dakini iconography, symbolism and motifs used in traditional Tibetan art became necessary. Art, my main vocation, came as a blessing in disguise as great meaning and significance are attached to the symbolism in these paintings and objects in the Tantra, the body of Vajrayana teachings. To complement the understanding of the subject, I decided to employ both painting and dissertation as means to investigate the world of Dakinis.
The study uses visual examples of traditional Tibetan Thangka paintings and statues to conduct a short study of the Dakini iconography. My interpretation and understanding of the Dakini also consists of a series of paintings produced by me as part of this research. In my illustrations, the very symbolism and motifs used in traditional Tibetan art are employed to expound my knowledge and understanding of the Dakinis in a representative way. In each of the thirteen paintings that I have done, a different aspect of the Tantric tradition to which the Dakini belongs and the spiritual achievement that she possesses is represented. The paintings were exhibited at the NIE Art Gallery. They are an inseparable part of my study because with the augmentation of my knowledge about Buddhism, the inspirations to do these paintings have arisen.
The main method of study for this research was documentary analysis and interviewing of intellectuals. For that I had to travel extensively in the Himalayan region of India where most of the Tibetan Buddhist Masters reside. Among them were His Holiness Sakya Trizin who is head of the Sakya School of Tibetan Buddhism, His Holiness Drikung Kyabgon, the head of the Drikung sub-sect of Kagyu School and Venerable Khandro Rinpoche who is one of the most prominent female reincarnations in Tibetan Buddhism and is widely considered to be a living Dakini.
Apart from that, I was also very privileged to meet many other women masters and practitioners who were known to be living Dakinis and widely respected. The interviews with the masters were not only rare pronouncements on this subject but very enlightening too. It was from their profound knowledge and practice of the Buddha's teachings that I learnt many things about the Dakinis.
Date Issued
2002
Call Number
BQ4398 Chu
Date Submitted
2002