Whence the Five Fingers?

Summary of article contents:

1) Introduction

The article explores the discrepancies and conflicts in Tibetan iconometry, particularly regarding the measurements for Buddha images as taught in the Kālacakra and Saṃvarodaya traditions. It focuses on the various interpretations of the size of a Buddha image—specifically, the contrasting figures of 120 and 125 fingers. The discussion is grounded in textual analysis of significant Tibetan works, including those of prominent figures such as sMan bla and Tāranātha, while also referencing the original Indian texts from which these teachings are derived.

2) Discrepancies in Measurements

A central topic in the article is the conflicting measures for Buddha images found in the Kālacakra and Saṃvarodaya traditions, with the former asserting that the correct size is 125 fingers, while the latter maintains it should be 120 fingers. This conflict primarily arises from the interpretations of verses found in the Laghukālacakratantra. The author notes how misinterpretations and textual variations, particularly in new translations, have contributed to the confusion, sometimes leading to a preference for one tradition over the other without sufficient philological support.

3) Role of sMan bla in Iconometry

sMan bla, a pivotal figure in the evolution of Tibetan iconometry, is noted for his critical engagement with both Indian and Tibetan texts in establishing authoritative standards for measurements in Thangka painting. His work presents the Kālacakra tradition as a higher authority compared to the Saṃvarodaya tradition and emphasizes the importance of aligning artistic practice with scriptural teachings. The divergence in perspectives also reveals how sMan bla's interpretation of texts influenced the prevailing iconometric practices and teachings in Tibet.

4) The Influence of Tāranātha

Tāranātha's interpretation of iconometry contrasts with that of sMan bla by providing a more nuanced view that aims to bridge differences between the Kālacakra and Saṃvarodaya traditions. He emphasizes reconciliation and seems to be more ecumenical in approach, thereby fostering a broader acceptance of various practices and teachings. His argumentation addresses the iconometric discrepancies through critical reasoning while aiming to uphold the authority of both traditions.

5) The New Jo nang Translation

The article discusses the impact of the new Jo nang translation of the Laghukālacakratantra on the understanding and implementation of iconometry in Tibetan Buddhism. This translation, which notably includes the controversial figure of 125 fingers, represents a significant shift that evokes sectarian tensions between different Buddhist schools in Tibet. It raises questions about textual accuracy and fidelity to original meanings, underscoring the complex socio-religious dynamics implicit in the interpretation of sacred texts.

6) Sectarian Conflict and Iconometry

Tensions surrounding the Kālacakra and Saṃvarodaya traditions are seen not just as academic disputes but also as reflections of the sectarian conflicts within Tibetan Buddhism, particularly between the Jo nang and dGe lugs schools. The actions of Tibetan scholars, including textual modifications and supportive interpretations, can be viewed as efforts to assert doctrinal superiority. A historical analysis of iconometry reveals underlying power dynamics and sectarian affiliations shaping the discourse on measurements.

7) Conclusion

The discrepancies in measurements within Tibetan iconographic traditions reflect deep-rooted theological, textual, and historical complexities. The debate over the size of Buddha images highlights not just scholarly disagreements but also the vibrant interplay of tradition and authority in shaping religious practice. The examination of sources, alongside the historical and sectarian contexts, offers a rich perspective on the evolution of Tibetan iconometry and encourages further studies to thoroughly understand the influence of these traditions on contemporary practices. This historical reframing ultimately adds depth to our comprehension of how iconometry developed within the landscape of Tibetan Buddhism.