Eight female bodhisattvas: Difference between revisions

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(New page: The '''eight female bodhisattvas''' are, #Lasya (Tib. ''Gegmoma'') the consort of Kshitigarbha #Gita (Tib. ''Luma'') the consort of Vajrapani #Malya (Tib. ''Trengwama'') the conso...)
 
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The '''eight female bodhisattvas''' are,
The '''eight female [[bodhisattva]]s''' (Tib. བྱང་ཆུབ་སེམས་མ་བརྒྱད་, ''changchub semma gyé'', [[Wyl.]] ''byang chub sems ma brgyad'') are also referred to as the [[eight offering goddesses]]. They are the consorts of the [[eight great bodhisattvas]]:


#Lasya (Tib. ''Gegmoma'') the consort of [[Kshitigarbha]]
#Goddess of Beauty (Skt. ''Lāsyā''; Tib. ''Gekpama''; Wyl. ''sgeg pa ma'') the consort of [[Kshitigarbha]]
#Gita (Tib. ''Luma'') the consort of [[Vajrapani]]
#Goddess of Garlands (Skt. ''Mālā''; Tib. ''Trengwama''; Wyl. ''phreng ba ma'') the consort of [[Akashagarbha]]
#Malya (Tib. ''Trengwama'') the consort of [[Akashagarbha]]
#Goddess of Song (Skt. ''Gītā''; Tib. ''Luma''; Wyl. ''glu ma'') the consort of [[Vajrapani]]
#Nritya (Tib. ''Zik Garma'') the consort of [[Avalokiteshvara]]
#Goddess of Dance (Skt. ''Nṛtyā''; Tib. ''Garma''; Wyl. ''gar ma'') the consort of [[Avalokiteshvara]]
#Dhupa (Tib. ''Dukpöma'') the consort of [[Maitreya]]
#Goddess of Flowers (Skt. ''Puṣpā''; Tib. ''Metokma'' Wyl. ''me tog ma'') the consort of [[Sarvanivaranavishkambhin]]
#Pushpa (Tib. ''Metokchen'') the consort of [[Sarvanirvaranaviskambhin]]
#Goddess of Incense (Skt. ''Dhūpā''; Tib. ''Dukpöma''; Wyl. ''bdug spos ma'') the consort of [[Maitreya]]
#Aloka (Tib. ''Aloke'') the consort of [[Samantabhadra]]
#Goddess of Light (Skt. ''Ālokā''; Tib. ''Marmema'' or ''Nangselma''; Wyl. ''mar me ma'') the consort of [[Samantabhadra]]
#Gandha (Tib. ''Drichabma'') the consort of [[Mañjushri]]
#Goddess of Perfume (Skt. ''Gandhā''; Tib. ''Drichabma''; Wyl. ''dri chab ma'') the consort of [[Mañjushri]]


[[Category: Enumerations]]
Symbolically they represent the pure state of sense objects.<noinclude>
[[Category: Buddhas and Deities]]
 
On the [[bell]] they are symbolised by the seed syllables on the top shoulder of the bell. The syllables are placed on an eight petalled lotus, that represents the eight male bodhisattvas.
 
An alternative list gives them as:
 
#[[Sarasvati]]
#Chunda
#[[White Tara]]
#Khadiravani Tara
#[[Sitatapatra]]
#Marichi
#[[Ushnishavijaya]]
#Parnashabari
 
==Further Reading==
*Robert Beer, ''The Encyclopedia of Tibetan Symbols and Motifs'', p. 244
 
 
[[Category:Buddhas and Deities]]
[[Category:Hundred Peaceful and Wrathful Deities]]
[[Category:Enumerations]]
[[Category:08-Eight]]</noinclude>

Latest revision as of 10:12, 9 December 2018

The eight female bodhisattvas (Tib. བྱང་ཆུབ་སེམས་མ་བརྒྱད་, changchub semma gyé, Wyl. byang chub sems ma brgyad) are also referred to as the eight offering goddesses. They are the consorts of the eight great bodhisattvas:

  1. Goddess of Beauty (Skt. Lāsyā; Tib. Gekpama; Wyl. sgeg pa ma) the consort of Kshitigarbha
  2. Goddess of Garlands (Skt. Mālā; Tib. Trengwama; Wyl. phreng ba ma) the consort of Akashagarbha
  3. Goddess of Song (Skt. Gītā; Tib. Luma; Wyl. glu ma) the consort of Vajrapani
  4. Goddess of Dance (Skt. Nṛtyā; Tib. Garma; Wyl. gar ma) the consort of Avalokiteshvara
  5. Goddess of Flowers (Skt. Puṣpā; Tib. Metokma Wyl. me tog ma) the consort of Sarvanivaranavishkambhin
  6. Goddess of Incense (Skt. Dhūpā; Tib. Dukpöma; Wyl. bdug spos ma) the consort of Maitreya
  7. Goddess of Light (Skt. Ālokā; Tib. Marmema or Nangselma; Wyl. mar me ma) the consort of Samantabhadra
  8. Goddess of Perfume (Skt. Gandhā; Tib. Drichabma; Wyl. dri chab ma) the consort of Mañjushri

Symbolically they represent the pure state of sense objects.

On the bell they are symbolised by the seed syllables on the top shoulder of the bell. The syllables are placed on an eight petalled lotus, that represents the eight male bodhisattvas.

An alternative list gives them as:

  1. Sarasvati
  2. Chunda
  3. White Tara
  4. Khadiravani Tara
  5. Sitatapatra
  6. Marichi
  7. Ushnishavijaya
  8. Parnashabari

Further Reading

  • Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, p. 244
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