Samantabhadra
The image of Samantabhadra is one of the oldest & among the most complex Buddhism, because of its simplicity & because the figures bear no symbolic objects (accoutrements) which otherwise define the form. Yet most people realise that there is some profound underlying meaning behind the form. The represents the realisation & flowering of pure consciousness. Owing to its simplicity, there are several Samantabhadra interpretations & meanings attached to the form.
The central concepts regarding the image
1. The original self which is perceived a pure awoken consciousness [Skt. bodhi]. The Awoken self [viz. spiritual nature] which realises the delusion of the material world which is the common perception of reality & in doing so is liberated.
1b.Understanding of the sun & moon, which themselves represent time {place} & the human condition respectively.
2a. The eternal Present moment which from the Awoken Mind of bodhi realises the union of the past, present & future.
3. The origin of all form out of which all form is derived & within to which all form dissolves into Nothingness. The nature of truth of reality, explored by the Buddhist Early Schools. These two leading schools are Sunyavada [aka. Madyamanka] & Yogacara. The realisation of the this truth of reality generates the Boddhi-sattva [the enlightened being of 'pure consciousness'.
4. According to Vajrayana Buddhism all Deities & Dakinis arose out of Samantabhadra. This idea is especially connected ot the Dhyana Buddha Familiies of Amitabha, Akshobhya, Amoghasiddhi, Ratnasambhava & Vairochana 5. Bodhissatva & figure of the Lotus Sutra [Skt. Avatamsaka Sutra] made the 10 vows to guide a bodhisattva.
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Iconography
Samantabhadra also known as Visvabhadra, is naked called 'sky clad' , presented embracing figures the white female figure is called Samantabhadri in an body position [Skt. Asana] called Yib-Yum togetherness known as the body of blissful union called Sambhogakaya. The word Samantabhadra means Universal loving Virtue. A union of the inner and outer world. The principle of duality is visualized in male & female, dark-light, love-hate, day & night. The co-emergence [Skt. Sahaja] of wisdom [Skt. Prajna] with fitness of action [Skt. Upaya] which is similar to compassion leads one to a state of Great Bliss [Skt. Mahasukha]. The state of Great Bliss is akin to individual Nirvana.The eight embedded jewels represent the Eightfold Path realised by Sakyamuni. There is a small mirror [Skt. Aina or Darpana] representing introspection, sight or form together with a jewel offering in the foreground. The two hand symbols [Tib. Ting Sha] represent the sense offering of sound. The rainbow beams arising from the crimson nimbus around the head of Samanta Bhadra represent a mastery of Boddhi Nature & one manifestation of the Sambhogakaya is the Rainbow Body. There is a small mirror [Skt. Aina or Darpana] representing introspection, sight or form together with a jewel offering in the foreground. The two hand symbols [Tib. Ting-Sha] represent the sense offering of sound. The rainbow beams arising from the crimson nimbus around the head of Samanta Bhadra represent a mastery of Boddhi Nature & one manifestation of the Sambhogakaya is the Rainbow Body. The co-emergence [Skt. Sahaja] of wisdom [Skt. Prajna] withfitness of action [Skt. Upaya] which is similar to compassion leads one to a state of Great Bliss [Skt. Mahasukha].
Commentary
1. The image of Samantabhadra represents a return to & understanding of our original self . This original self is perceived as a pure & blissful (happy). This position of understanding is perceived as pure awareness devoid of the delusion generated by greed [thirst - Skt. tanha]. & hatred [Skt. Dhosa]. Greed for instance makes us accumulate material wealth, an emotional & physical dependence on material things. Hatred is perceived as jealousy, envy. These obscure our original nature & the real happiness. This causes suffering which is cyclical [Skt. Samsara] & self-perpetuating. The paradox here is that the freedom of self is attained by having less & not more. By giving not taking, by relinquishing not gathering & so forth. The position of pure understanding is a position attained through deep thought & applied understanding. As we proceed we awaken to the pure consciousness [Skt. bodhi]. The word Buddha is Sanskrit which means to be awake or to be awoken.
Take the example of a carefree, spontaneous & happy child compared to a stressed, tired & unhappy adult. But this state of pure consciousness does not mean we have to become children again. This is merely a good example of how change can not always be for the better. The Sambhogaya state which Samantabhadra is depicted is attained though understanding & by realising the delusion of the material world. The blissful union is one of transcendent understanding & liberated awareness rather than the spontaneous naivety of a child. B. 1b. The union of the sun & moon, which themselves represent time {place} & the human condition respectively. It is beyond the common perception of the cyclical sun & moon that a person can enter the Dharmakaya & 4th Vajrakaya realms.
2. Samantabhadra symbolises the union of two. In Hinduism this union is perceived as a union of the atman [the self] with the Brahman [infinite universe]. But in Buddhism the Brahman is perceived as merely another aspect of form, & so in being a described form a veil hindering the realisation of pure consciousness. In Buddhism this union usually refers to two leading ideas which are A. The eternal Present Moment which from the origin, the Awoken Mind of bodhi realises the union of the past, present & future within the ever flowering moment of conscious reality. The blue figure of the past embraces the white figure representing the future within the eternal present. In this way Samantabhadra presents timeless awareness who was existing befoe the very notion of time itself.
Although the school of Yogācāra evolved in the 4th CE much later than the original idea of Samantabhadra, the figure of Samantabhadra is just as useful for meditating on the Principle. The discourse is founded on the existential truth of the human condition: there is nothing that humans experience that is not mediated by mind. Yogācāra thinkers did not focus on consciousness to assert it as ultimately real (Yogācāra claims consciousness is only conventionally real since it arises from moment to moment due to fluctuating causes and conditions), but rather because it is the cause of the karmic problem they are seeking to eliminate. This is to say understand original nothingness it is worthwhile reflecting on momentariness & the transitionb of one moment to the other. In Buddhism, consciousness-only or mind-only [Skt. vijñapti-mātratā, citta-mātra] is a theory according to which unenlightened conscious experience is nothing but false discriminations or imaginations. Also known as "Yogācāra-Svatantrika-Mādhyamaka" by the Tibetan tradition. In his view the Mādhyamika [aka. Sunyavada position is ultimately true and at the same time the mind-only view is a useful way to relate to conventionalities and progress students more skillfully toward the ultimate.
3. The image of Samantabhadra embodies the idea origin of phenomena which is perceived as nothingness. Phenomenal Thought-Form, including the painting of Samantabhadra itself, is believed to be derived from an original simple form. This original form is itself a illusion & ultimately nothingness. That all objects are dependent on causes & conditions which caused the object to be form which were themselves in turn dependent on others causes & conditions & so on & the ultimate emptiness of the constantly changing nature of all things. Since everything is nothingness there is a lack of autonomous existence [Skt. Nihsvabhava]. This is related principle of dependent origination of phenomena [Skt. Pratityasamutpada]. [Skt.] By the 11th CE Tibetan Buddhists in such as Patsap Drak categorised this idea into Prasangika & Svatantrika. Out of which all form is derived & within to which all form dissolves into Nothingness. This is realisation of the Sunyavada [Madyamanka] & Yogacara Schools, & is more completely explained in the Nagarjuna Tablet.
4. Samantabhadra is more commonly associated with emanation of Deific thought-form, i.e. all the Vajrayana Buddhist Deities & Dakinis which arise out of the original inception of Samantabhadra. This idea is particularly connected to Nepalese & Tibetan Buddhism & the concept of Dhyana 'Transcendent' Buddha Families of Amitabha, Akshobhya, Amoghasiddhi, Ratnasambhava & Vairochana. However, the Kagyu & Gelug schools use Vajradhara to represent the Original Buddha.
5. Samantabhadra is a key figure in the Flower Garland Sutra, particularly the last chapter, the Gandhavyuha Sutra. The Gandavyuha Sutra details the journey of the youth Sudhana, who undertakes a pilgrimage at the behest of the bodhisattva Manjushree. Sudhana will converse with 52 masters in his quest for enlightenment. The antepenultimate master of Sudhana's pilgrimage is Maitreya. It is here that Sudhana encounters The Tower of Maitreya, which along with Indra's net is one of the most startling metaphors for the infinite to emerge in the history of literature across cultures. In the middle of the great tower... he saw the billion-world universe... and everywhere there was Sudhana at his feet... Thus Sudhana saw Maitreya's practices of... transcendence over countless eons [Skt. kalpa], from each of the squares of the check board wall... In the same way Sudhana... saw the whole supernal manifestation, was perfectly aware it, understood it, contemplated it, used it as a means, beheld it, and saw himself there. In the climax of the Gandhavyuha Sutra, the student Sudhana meets the Bodhisattva Samantabhadra, who teaches him that wisdom only exists for the sake of putting it into practice; that it is only good insofar as it benefits all living beings.
Application in Daily Life
Modern day living is increasingly complex which often prevents us from appreciating the simple things in life. Complexity also induces stress, fatigue and disillusionment. Our mind become increasingly cluttered & attached to meaningless experiences & possessions. The thought form of Samantabhadra suggests a return to original simplicity & appreciation that phenomena is impermanent & delusory. The formation of a candle originated in an idea, the materials forming the candle arose in other conditions, & the candle ultimately will return to nothingness. 2. Samantabhadra is the origin of the transcendent Dhyana Buddhas which serve to free us from the suffering.
Process: Sand Casting
This Samantabhadra has been created using the sand casting system, also known as sand molding casting. This widely employed manufacturing process utilizes a sand mold to produce metal products and components in various sizes and shapes. Sand casting holds significant popularity in the industry, accounting for approximately 60% of all metal castings. The sand casting process involves six primary steps. First, a pattern or replica of the desired sculpture, in this case, Samantabhadra, is created using a material like wood or metal. The pattern is then placed in a flask, which is a box-like structure divided into two halves. The next step involves packing the flask tightly with specially formulated molding sand, creating a mold cavity that matches the shape of the pattern. The pattern is subsequently removed, leaving behind a negative impression of the sculpture within the sand mold.
The third step is known as gating and risering, where additional channels and reservoirs are added to the mold to facilitate the flow of molten metal and compensate for any shrinkage during solidification. Once the gating system is prepared, the mold is carefully closed and secured. The fourth step involves pouring the molten metal, such as bronze or iron, into the mold through the gating system. After the metal has cooled and solidified, the mold is broken open, revealing the solid metal sculpture. The final steps involve removing any excess material, surface finishing, and polishing to achieve the desired appearance.
Sand casting offers several advantages, including its versatility in producing complex shapes, cost-effectiveness for both small and large-scale productions, and the ability to use a wide range of metals. However, it does require skilled craftsmanship and careful attention to ensure the quality and accuracy of the final sculpture. By utilizing the sand casting system, the Samantabhadra embodies the craftsmanship and artistry of the process, resulting in a captivating and unique metal artwork.
The process cycle for sand casting consists of six main stages, which are explained below
Mold-making -The first step in the sand casting process is to create the mold for the casting. In an expendable mold process, this step must be performed for each casting. A sand mold is formed by packing sand into each half of the mold. The sand is packed around the pattern, which is a replica of the external shape of the casting. When the pattern is removed, the cavity that will form the casting remains. Any internal features of the casting that cannot be formed by the pattern are formed by separate cores which are made of sand prior to the formation of the mold. Further details on mold-making will be described in the next section. The mold-making time includes positioning the pattern, packing the sand, and removing the pattern. The mold-making time is affected by the size of the part, the number of cores, and the type of sand mold. If the mold type requires heating or baking time, the mold-making time is substantially increased. Also, lubrication is often applied to the surfaces of the mold cavity in order to facilitate removal of the casting. The use of a lubricant also improves the flow the metal and can improve the surface finish of the casting. The lubricant that is used is chosen based upon the sand and molten metal temperature.
Clamping - Once the mold has been made, it must be prepared for the molten metal to be poured. The surface of the mold cavity is first lubricated to facilitate the removal of the casting. Then, the cores are positioned and the mold halves are closed and securely clamped together. It is essential that the mold halves remain securely closed to prevent the loss of any material.
Pouring - The molten metal is maintained at a set temperature in a furnace. After the mold has been clamped, the molten metal can be ladled from its holding container in the furnace and poured into the mold. The pouring can be performed manually or by an automated machine. Enough molten metal must be poured to fill the entire cavity and all channels in the mold. The filling time is very short in order to prevent early solidification of any one part of the metal.
Cooling - The molten metal that is poured into the mold will begin to cool and solidify once it enters the cavity. When the entire cavity is filled and the molten metal solidifies, the final shape of the casting is formed. The mold can not be opened until the cooling time has elapsed. The desired cooling time can be estimated based upon the wall thickness of the casting and the temperature of the metal. Most of the possible defects that can occur are a result of the solidification process. If some of the molten metal cools too quickly, the part may exhibit shrinkage, cracks, or incomplete sections. Preventative measures can be taken in designing both the part and the mold and will be explored in later sections.
Removal - After the predetermined solidification time has passed, the sand mold can simply be broken, and the casting removed. This step, sometimes called shakeout, is typically performed by a vibrating machine that shakes the sand and casting out of the flask. Once removed, the casting will likely have some sand and oxide layers adhered to the surface. Shot blasting is sometimes used to remove any remaining sand, especially from internal surfaces, and reduce the surface roughness.
Trimming - During cooling, the material from the channels in the mold solidifies attached to the part. This excess material must be trimmed from the casting either manually via cutting or sawing, or using a trimming press. The time required to trim the excess material can be estimated from the size of the casting's envelope. A larger casting will require a longer trimming time. The scrap material that results from this trimming is either discarded or reused in the sand casting process. However, the scrap material may need to be reconditioned to the proper chemical composition before it can be combined with non-recycled metal and reused.
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