Multivariant Levels of Interpretations on Selected Caryās

Thesis

Abstract

The objective of this thesis is to investigate the multivariant levels of interpretation within selected Caryās. The Caryās selected depict Buddha Nature as it was understood in tāntric Buddhism in the area of Bengal. There are three levels of interpretation. The first level is the blatant meaning, and is outlined in the translation section of the songs. The second level is the anuyoga/Mother tāntra meaning. A comparison is made between the interpretations of selected scholars. The final level is the Mahāmudra meaning. This level is inferred from various textual sources.

Citation	Bhattacherjee, Rupa. "Multivariant Levels of Interpretations on Selected Caryās." MA thesis, University of Calgary, 2000. https://www.collectionscanada.gc.ca/obj/s4/f2/dsk2/ftp03/MQ55135.pdf.

Approvalii
Abstractiii
Acknowledgementsiv
Dedicationv
Abbreviationsvi

I. Introduction4

II. Comparative Doctrines10

- 1. Essential ideology10
- 2. Early Buddhist Schools11
- 3. Tāntric concepts that stem from Mahāyāna14
  - a. Śūnyatā15
  - b. Prajñā and Upāya17
  - c. The three kāyas19
- 4. Vajrayāna Buddhism20
  - a. Mantra23
  - b. Mudrā23
  - c. Maṇḍala25
  - d. The three higher classes of tāntra: Mahāyoga27
  - e. Anuyoga/ Mother Tāntra level28
  - f. Mahāmudra30
  - g. The three lower tāntras: Kriyāyoga30
  - h. The Buddhist Cakras31
  - i. Consort Practice34

III. History of Buddhism in Bengal38
- 1. Socio-economic Background38
- 2. The Rise and fall of Buddhist Dynasties in Bengal41

IV. Definitions of Buddha Nature47
- 1. The Tathāgatagarbha Theory47
  - a. Definition of tathāgatagarbha51
  - b. Tathāgatagarbha as already Buddha55
  - c. Conventional and Higher Truths56
- 2. The Sahaja Theory57
- 3. Mahāsukha58
- 4. Mahāmudrā59
- 5. The meanings of terms summarized61

IV. SANDHABHĀṢĀ (twilight language)62

VI. Transliterated Verses of the Caryāgitīs69
- 1. CARYĀ THREE: A Grog Shop69
  - a. Part One: About the Author: Birūpa69
  - b. Part Two: Textual Studies and Translations71
  - c. Translations:73
  - d. Sandhabhāṣā :75
  - e. Mahāmudra depictions in sandhabhāṣā81
- 2. CARYĀ NINE: A Mad Elephant83
  - a. Part one: About the author: Kānhā83
  - b. Part Two: Textual Studies and translation84
  - c. Translations:86
  - d. Sandhabhāṣā:87
  - e. Mahāmudra depictions in sandhabhāṣā93
- 3. CARYĀ THIRTY-SIX: A Carefree Stalwart96
  - a. Part one: About the author: Kṛṣṇācarya96
  - b. Part Two: Textual Studies and translation96
  - c. Translations:97
  - d. Sandhabhāṣā :98
  - e. Mahāmudra depictions in sandhabhāṣā100
- 4. CARYĀ FORTY: Futility of Religiosity102
  - a. Part one: About the author: Kāṇhu102
  - b. Part Two: Textual Studies and translation102
  - c. Translations:103
  - d. Sandhabhāṣā :103

e. M a h a m u d ra depictions in sa n d h a b h a sa ............................................ 105 5. CARYA FORTY-TWO: Life and Death..............................................................107 a. Part one: About the author: K a n h a ....................................................................107 b. Part Two: Textual Studies and translation.........................................................107 c. Translations:..............................................................................................................107 d. S a n d h a b h a sa :........................................................................................................ 108 e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................109 6. CARYA FIFTEEN: A Benighted Traveler..........................................................I l l a. Part one: About the author: S a n ti.......................................................................I l l b. Part Two: Textual Studies and translation.........................................................I l l c. Translations:..............................................................................................................113 c. S an d h ab h asa:........................................................................................................116 e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................118 7. CARYA TWENTY-EIGHT: A Couple of Savara Lovers................................ 120 a. Part one: About the author: Savaripa............................................................... 120 b. Part Two: Textual Studies and translation.........................................................121 c. Translations:..............................................................................................................122 d. S a n d h a b h a sa :........................................................................................................ 124 e. M a h a m u d ra depictions in sa n d h a b h a sa .......................................................129 8. CARYA TWENTY-NINE: The Unreal Reality.................................................. 131 a. Part one: About the author: L uipa....................................................................131

b. Part Two: Textual Studies and translation........................................................ 131 c. Translations:............................................................................................................. 132 d. S an d h a b h a sa :........................................................................................................133 e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 134 9. CARYA THIRTY: The Rising M oon .’.......................................................... 136 a. Part one: About the author: Bhusuku.................................................................136 b. Part Two: Textual Studies and translation............. 136 c. Translations:............................................................................................................. 137 d. S an d h ab h asa:........................................................................................................137 e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 139 10. CARYA THRITY-SEVEN: An Experience of the Innate............................. 140 a. Part one: About the author: T a ra k a p a ............................................................ 140 b. Part Two: Textual Studies and translation........................................................ 140 c. Translations:............................................................................................................. 141 d. S an d h a b h a sa :........................................................................................................142 e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 144 11. CARYA THIRTY-EIGHT: Paddling and towing a boat.............................. 146 a. Part one: About the author: Saraha...................................................................146 b. Part Two: Textual Studies and translation........................................................ 147 c. Translations:.............................................................................................................148 d. S an d h yab h asa:..................................................................................................... 149 e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 150 12. CARYA THKTY-NINE: A Hapless Householder........................................ 152 a. About The Author: Saraha.................................................................................... 152 b. Part Two: Textual Studies and translation........................................................ 152 b. Translation:............................................................................................................. 154 d. S an d h ab h asa:........................................................................................................155 e. M ah am u d ra depictions in sa n d h a b h a sa ...................................................... 157 VH. Conclusion............................................................................................................... 159

VIU. Bibliography..........................................................................................................165