Dakini

For the 2018 Malayalam drama film, seeDakini (film).

Tibetan board carving of the ḍākinīVajrayogini

Aḍākinī(Sanskrit:डाकिनी;Tibetan:མཁའ་འགྲོ་མ་,Wylie:mkha' 'gro ma,THL:khandroma;Mongolian:хандарма;Chinese:Không hành mẫu;pinyin:kōngxíngmǔ;lit.'sky-going mother'; alternatively đồ chỉ ni,pinyin:túzhǐní;Đồ cát ni,pinyin:tújíní;or tra chỉ ni,pinyin:zhāzhǐní;Japanese: Đồ chỉ ni / tra chỉ ni / đồ cát ni,dakini) is a type of goddess inHinduismandBuddhism.

The concept of the ḍākinī somewhat differs depending on the context and the tradition. For example, in earlier Hindu texts andEast Asian esoteric Buddhism,the term denotes a race of demonesses who ate the flesh and/or vital essence of humans. In HinduTantric literature,Ḍākinī is the name of a goddess often associated with one of thesix chakrasor the seven fundamental elements (dhātu) of the human body. InNepaleseandTibetan Buddhism,meanwhile, 'ḍākinī' (alsowisdom ḍākinī) can refer to both what can be best described as fierce-looking female embodiments of enlightened energy, and to human women with a certain amount of spiritual development, both of whom can help Tantric initiates in attainingenlightenment.

InJapan,the ḍākinīs – held in the East Asian Buddhist tradition to have been subjugated and converted to Buddhism by the buddhaVairocanaunder the guise of the godMahākāla(Daikokutenin Japanese) – were eventually coalesced into a single deity calledDakiniten( đồ chỉ ni thiên, tra chỉ ni thiên, or đồ cát ni thiên ), who, after becoming syncretized with the native agriculturaldeityInari,became linked to the fox (kitsune) iconography associated with the latter.

Etymology

The Sanskrit termḍākinīis related toḍīyate,"to fly", as inuḍḍayanam(meaning "flight" ). The Tibetankhandroma(Tibetan:མཁའ་འགྲོ་མ་,Wylie:mkha' 'gro ma), meaning "sky-goer", may have originated from the Sanskritkhecara(of the same meaning), a term from theCakrasaṃvara Tantra.The masculine form of the word isḍāka,which is usually translated into Tibetan aspawo,"hero" (Wylie:dpa' bo).

InChinese,ḍākinīistranscribedmainly as đồ chỉ ni (pinyin:túzhǐní), đồ cát ni (pinyin:tújíní), or tra chỉ ni (pinyin:zhāzhǐní); other less common alternative transcriptions include đà chỉ ni (tuóqíní), tra chỉ ni (zhāqíní), tra mấy ngươi (zhājǐěr), and noa cát ni (nájíní).It is also translated as không hành mẫu (pinyin:kōngxíngmǔ;lit.'sky-going mother'), acalqueof the Tibetan term. In Japanese, these transcriptions are all read asdakini(katakana:ダキニ; also ダーキニー,dākinī).

In Hinduism

See also:Yogini

Temple banner depicting a dancingtantricgoddess flanked by bird-headed ḍākinīs (Art Institute of Chicago)

As demonesses

In certain passages inHinduPurāṇic literature,ḍākinīs are depicted as flesh-eating demonesses in the train of the goddessKālī.For instance, in theShiva Purāṇa(2.2.33),VīrabhadraandMahākāḷīatShiva's command march againstPrajapatiDakshaaccompanied by theNine Durgasand their fearsome attendants, namely "Ḍākinī, Śākinī,Bhūtas,Pramathas, Guhyakas, Kūṣmāṇḍas, Parpaṭas, Caṭakas,Brahma-Rākṣasas,Bhairavasand Kṣetrapālas. "In theBrahmāṇḍa Purāṇa(3.41.30),Paraśurāmasees ḍākinīs among Shiva's retinue (gaṇa) inMount Kailash.

In theBhāgavata Purāṇa(10.06.27–29), after the youngKrishnahad killed the demonessPūtanā,the cowherd women (gopis) ofVrindavancarry out protective rites to keep him safe from future harm. At the end of the ritual, they declare:

The Dākinīs, the Yātudhānīs, the Kūṣmāṇḍas, the infanticides, the goblins [Bhūtas], theMātṛs,thePiśācas,theYakṣas,theRakṣasas,the Vināyakas, Kotarī, Revatī, Jyeṣṭhā, Pūtanā, and other Mātṛkās, Unmāda,Apasmāra,and other devils inimical to the mind, the body and the senses, and other evil omens and calamities dreamt of, and the slayers of the old and the young,—may these and all other evil spirits be destroyed, being terrified at the recital of the name ofViṣṇu.

As a goddess

Other texts meanwhile apparently use 'Ḍākinī' as the name of a goddess. In theLalitopākhyāna( "Narrative of [the goddess]Lalitā") section of theBrahmāṇḍa Purāṇa,Ḍākinī is one of the deities who guards the chariot of the boar-faced goddessDaṇḍanāthā,one of Lalitā's generals.

Seven deities calledDhātunāthāswere stationed in their respective places beneath the same step. They were Yakṣiṇī, Śaṅkhinī, Lākinī, Hākinī, Śākinī, Ḍākinī and (another) Hākinī who had the united (and combined) forms of all of them. All these demonstrated the exploits of their mighty arms. They appeared ready to drink (i.e. destroy) all living beings and the Earth. They drank and consumed the sevenDhātus,essential ingredients, of the body (viz. the blood), skin, flesh, fat, bones, marrow and the semen of enemies. They had hideous faces. With their harsh leonine roars they filled ten-quarters. They were calledDhātunāthāsand they were the bestowers of eightSiddhisbeginning withAṇimā(minuteness).
They were experts in deluding, slaying, paralysing (stupefying), striking, swallowing, and exterminating the wickedDaityas.In regard to those who are habitually devout, they were competent to annihilate all adversities. They were calledDhātunāthās(since) they were present in allDhātus(essential secretions of the body).

The goddessKālīflanked by Ḍākinī andYoginī

A chapter detailing the mode of worship of the goddessKubjikācontained in theAgni Purāṇainstructs that the goddesses "Ḍākinī, Rākinī, Kākinī, Śākinī, and Yakṣiṇī should be worshipped in the six directions (coming) from the north-west."

InTantricliterature, Ḍākinī the goddess is usually associated with thesaptadhātus(the seven primary constituent elements of the human body) or thesix chakras.TheKubjikāmata Tantrafor instance enumerates sevenyoginīgoddesses (Kusumamālinī, Yakṣiṇī, Śaṅkhinī, Kākinī, Lākinī, Rākinī, and Ḍākinī) to whom the ritual practitioner symbolically offers his semen, bones, marrow, fat, flesh, blood and skin, respectively. A nearly identical listing of goddesses can be found in a later text belonging to the same tradition, theŚrīmatottara Tantra:here, the names listed are Dākinī, Rākinī, Lākinī, Kākinī, Śākinī, Hākinī, Yākinī and Kusumā.Another chapter in theKubjikāmata Tantralists two sequences of six goddesses, assigned to each of the six chakras: the first denotes the creative "northern course" of the six chakras, from theājñādown to theādhāra,while the latter – comprising Ḍākinī, Rākinī, Lākinī, Kākinī, Śākinī and Hākinī – denotes the destructive "southern course", in reverse order.

Later Tantric texts such as theRudrayāmala Tantraidentify Ḍākinī, Rākinī, Lākinī, Kākinī, Śākinī and Hākinī with the six chakras, thedhātusand thefive elementsplus themind.This work associates Ḍākinī with themūlādhārachakra, Rākinī withsvādhiṣṭhāna,Lākinī withmaṇipūra,Kākinī withanāhata,Śākinī withviśuddhi,and Hākinī withājñā.TheŚrīmatottara Tantraplaces Kusumamāla (absent in theRudrayāmala Tantra) at the feet, while other texts place a figure named Yākinī at the level of thesahasrāra.

In Buddhism

As flesh-eaters

See also:Mahākāla,Daikokuten,andAcala

Ḍākinīs with a human corpse. Detail ofWomb Realm(Garbhakoṣadhātu)Mandala

In a chapter criticizing meat-eating in theLaṅkāvatāra Sūtra,Gautama Buddharefers to dākas and ḍākinīs – described as "terrible eaters of human flesh" – as the offspring of the carnivorous KingKalmaśapada( "Spotted Feet" ), who was born after a human king had mated with a lioness.

InEast Asian Buddhism,the ḍākinīs are mainly known via the story of their subjugation by the wrathful deityMahākālafound in a commentary on theMahāvairocana Tantra(also known as theVairocanābhisaṃbodhi Sūtra) by theTang dynastymonkYi Xing.According to the story, the buddhaVairocana,wishing to stop the ḍākinīs from preying on humans, took the form of Mahākāla, summoned the ḍākinīs before him, and then swallowed them all, declaring that he would release them on the condition that they cease devouring human flesh. When the ḍākinīs complained that this would lead them to starvation, Mahākāla as a concession allowed them to consume the vital essence of deceased humans known as 'human yellow' ( người hoàng,pinyin:rénhuáng,Japanese:jin'ō/ninnō) – an elusive substance (often described as five, six, seven, or ten grains resembling grains ofmillet,dewdrops or whitejade) believed to be found either inside a person'sliver,heartor at the top of the head – instead, teaching them amantraenabling them to know of a person's impending death six months in advance so that they could obtain it before other demons, who also coveted the substance as it conferred various magical powers to the consumer.

[The ḍākinīs'] chief was theyakṣaMaheśvara,who worldly people say is the ultimate [god]. They were subject to Mahākāla, the god called the "Great Black One" ( đại hắc ). Vairocana, employing the method ofTrailokyavijayaand wanting to exterminate them, transformed himself into Mahākāla, exceeding him in an immeasurable manifestation. His body smeared withashesin a desolate place, he summoned with his magical art all the ḍākinīs, who had all of the magical powers [such as] flying, walking on water and being completely unhindered. He upbraided them, saying: "Since you alone always devour people, now I will eat you!" Then he swallowed them, but did not allow them to die. Once they have submitted, he released them, completely forbidding them to [eat] flesh. They spoke to the Buddha, saying, "We presently eat flesh to survive. How can we sustain ourselves now?" The Buddha said, "I will permit you to eat the hearts of dead people." They said, "When a man is about to die, themāhāyakṣasand so forth know that his life is exhausted, and they race there to eat him, so how can we get [our share]? "The Buddha said," I will teach you the mantra procedures andmudrās.You will be able to know six months before someone dies, and knowing this, you should protect him with this method, so he will not fear being injured. When his life has expired, then you can seize and eat [his heart]. "In this way, they were gradually induced to embark upon the [Buddhist] path.

Other texts meanwhile assign the taming of the ḍākinīs to other figures such asVajrapāṇior theWisdom KingAcala(Fudō Myōō in Japanese).Indeed, inJapanese esoteric BuddhismAcala is believed to have the power to extend the lifespan of his devotees and was thus invoked in certain life-prolonging rituals against soul-stealing demons such as ḍākinīs.Like Mahākāla, Acala is interpreted in the Japanese tradition as a wrathful avatar of Vairocana, with some texts even identifying Mahākāla as Acala's "trace"(suijaku) or manifestation.

A dictionary compiled by the Tang dynasty monk Huilin ( tuệ lâm ) titledThe Sound and Meaning of All Sūtras(Chinese:Hết thảy kinh ý nghĩa và âm đọc của chữ,pinyin:Yīqièjīng yīnyì) defines ḍākinīs ( đồ 抧 ni ) as demonesses who bewitch people and have sexual relationships with them.

The ḍākinīs in the Womb Realm Mandala

In Japanese Buddhism

Emergence and development of cult

The ḍākinī imagery arrived in Japan viaKūkai's introduction ofTangmi(East Asian esoteric Buddhism) to the country in the beginning of the 9th century (earlyHeian period) in the form of theShingon school.TheWomb Realm(Garbhakoṣadhātu)Mandala,one of thetwo main mandalasof Shingon Buddhism, depicts three ḍākinīs in the southern (right-hand side) part of the mandala's Outer Vajra section ( ngoại kim cương bộ viện,gekongōbu-in) in the court ofYama(Enmaten in Japanese), next to theSaptamātṛkāsand other similar deities. The figures are half-naked and seated on circular mats next to a human corpse. One of the ḍākinīs is shown devouring a human arm and a leg; the other two hold skulls (kapāla) in their right hands, and one holds a chopper in her left hand.All in all, the ḍākinīs represented in this mandala are more akin to the demonesses of Hindu and early Buddhist texts and iconography than the female personifications of enlightenment found inTibetan Buddhism.

Mandalaof Enmaten (Yama), from theBesson Zakki( đừng tôn tạp nhớ ), a lateHeian-earlyKamakura periodJapanese compendium of Buddhist iconography. A half-naked ḍākinī ( đồ cát ni ) figure holding a sack or bag is depicted to the right of Enmaten and his two consorts.

The ḍākinīs were, as per their placement in the Womb Realm Mandala, originally revered as part of Yama's (Enmaten's) retinue, mainly figuring in rituals centered around the deity. A ḍākinī (not yet the medieval Dakiniten), depicted as a long-haired woman holding a bag, also appears in the Enmaten mandalas of the lateHeian periodas one of the god's attendants.It was after theInsei periodof the late 11th to mid-12th century, during which Japan was effectively under the rule of retired ( "cloistered") emperors, that a cult centered around the deified ḍākinī as a single goddess named 'Dakiniten' emerged independent of the Enmaten ritual.As the cult of Dakiniten flourished, its rite became famous for being particularly effective for obtaining worldly benefits and was thus especially attractive to the politically ambitious; at the same time, however, the ritual was viewed with suspicion within some circles as a dangerous, "heterodox" ( ngoại pháp,gehō) practice due to its supposed subversive, black magical aspects.

It is difficult to trace the exact origins of the Japanese Dakiniten cult. While a number of medieval texts claim the ritual'slineagestarted with eminent esoteric masters such asAmoghavajraorVajrabodhi,the lineage may more plausibly be traced back to 10th century Shingon monks such as theJingo-jipriest Kengyō ( giám giáo ) or theTō-jiabbot Kanshuku ( quan túc,fl. 926–930).Although one legend claims thatSaichō,the founder of theTendai school,brought with him Dakiniten ritual texts from China which he then buried atMount Hiei,there is actually no historical proof that he or any of the other monks who went to China to study esoteric Buddhism – Kūkai,Jōgyō,Engyō,Ennin,Eun,EnchinandShuei– brought home any such texts with them, suggesting that the Dakiniten rite developed in Japan well after their time.

Taira no Kiyomoriencounters the fox goddess Kiko Tennō (Dakiniten), byUtagawa Kuniyoshi

The rapid rise of certain notable figures to prominence, as well as their decline, have been popularly attributed to Dakiniten. A certain anecdote regarding the military leaderTaira no Kiyomorifound in theGenpei Jōsuiki(one of a number of variants of theHeike Monogatari) claims that Kiyomori once shot an arrow at a fox during a hunt. The fox then transformed into a woman who promised to grant Kiyomori whatever he wanted in exchange for her life. Kiyomori, realizing this woman is none other than the goddess Kiko Tennō ( quý hồ thiên vương, lit. "Venerable FoxDeva-King ", i.e. Dakiniten), spared her life. He subsequently became a devotee of the goddess, despite his awareness that the benefits obtained through the Dakiniten rite ( tra thiên の pháp,Daten no hō) would not be passed on to his progeny. The story thus attributes both Kiyomori's rise in power and the subsequent fall ofhis clanto his performance of the Dakiniten ritual.

Nanboku-chō periodpainting of Dakiniten riding a white fox, carrying a sword and a wish-granting jewel (cintāmaṇi)

According to theKamakura periodworkKokon Chomonjū,the late Heian period noblemanFujiwara no Tadazanecommissioned the performance of the Dakiniten rite for seven days as he was about to be sent into exile. At the end of that period, a fox came to eat his offering, arice cake.He then later had a dream in which he was visited by a beautiful young woman. When she was getting ready to leave, he grasped her hair to hold her back, at which he woke up finding himself holding a fox's tail in his hands. The next day, instead of being exiled, he was promoted to a high rank. Attributing this turn of events to Dakiniten, Tadazane in thanksgiving worshiped the fox tail as a symbol of the deity.

Other people claimed to have attained positions of authority due to their devotion to Dakiniten include the monkNingai(951–1046), the founder of the Ono branch ( tiểu dã lưu,Ono-ryū) of Shingon, and theShingon RisshūmonkMonkan(1278–1357), a close aide ofEmperor Go-Daigowhose name became linked to the infamousTachikawa branch(Tachikawa-ryū). Monkan's enemies in particular painted him in a negative light by emphasizing the dubious nature of the rites he performed; one notable rival,Yūkai,accused him of "making offerings to the ḍākinīs and conjuring dragons while he is reporting to the throne."The Tendai monk Kōshū (1276–1350),in his workKeiran Shūyōshū(渓 lam nhặt diệp tập, "Collected Leaves from Hazy Valleys" ), wavers in his judgment of the Dakiniten rite: on the one hand, he comments that "he who worships animals is worthy of being a master. He who worships a fox is worthy of becoming a king." On the other hand, he warns his readers about the dangers of the Dakiniten cult.

Dakiniten and Inari

See also:Inari Ōkami

Dakiniten's cult flourished mainly via the network ofInariworship and vice versa; the former, because of her association with the fox (kitsune), became closely linked with the latter, as foxes were seen as the messengers of the Inari deity. Dakiniten came to be identified with the native agriculturalkamiUkanomitama,Toyouke,andUkemochi(all of whom were themselves conflated both with the god of Inari and with each other), with her iconography probably being informed by these goddesses.A late Kamakura period text called theInari-ki( đạo hà nhớ, "Record of Inari" ) links the five peaks of Mount Inari with various divinities and Buddhist figures: the eastern peak corresponds with Dakiniten, who is associated with theWisdom KingYamāntaka(Daiitoku) and thekamiAmaterasu,the central peak to Shinkoō ( thần Hồ Vương, lit. "Dragon-Fox / Astral Fox King"; a name also applied to Dakiniten's vulpine mount who was eventually conflated with the goddess herself) and the buddhaAmitabha,the western peak toBenzaitenandRāgarāja(Aizen), the southern peak toTrailokyavijaya(Gōzanze),Niu MyōjinandHārītī(Kariteimo), and the northern peak to Acala (Fudō).When reckoned as a separate figure, the Inari deity (InariMyōjin) may even be depicted among Dakiniten's retinue as an old man bearing on his shoulder a pole with sheaves of rice on each end.

Due her association with foxes, the cult of Dakiniten was assimilated into that of the agricultural deity Inari. (pictured:Fushimi Inari ShrineinKyoto)

The assimilation of Dakiniten and Inari (or rather, Ukanomitama) can also be observed in the origin story of the Dakiniten Hall atShinnyo-dōin Kyoto. The story relates that a monk who was a worshiper of Dakiniten had just finished reciting the 600-fascicleMahāprajñāpāramitā Sūtrawhen a white fox holding a jewel (cintāmaṇi) in its mouth appeared on the altar. The fox then transformed into a youth, who declared that he was the deity Ukanomitama and that his jewel grants all wishes.

In popular religion, Dakiniten was also identified with a fox goddess worshiped at Mount Inari known variously as Akomachi ( a tiểu đinh ), Tōme ( chuyên nữ ), or Myōbu ( mệnh phụ ). This deity (commonly regarded as an attendant of the god of Inari) was revered as a patron of love and matchmaking; a short liturgical text to Akomachi preserved atKōzan-jiis titledDakini no saimon( đồ chỉ ni tế văn ).In its section on the Inari deity, theNanboku-chō periodanthologyShintōshūrecounts a tradition found in "a certain person's diary" which identifies the deity of the Upper Shrine ( thượng xã,kami no yashiro) of Inarias the "Dragon / Astral Fox" ( thần hồ,Shinko) Myōbu, who is said to be amanifestationof the bodhisattvaMañjuśrī.The work then further identifies this Shinko(ō) Bosatsu ( thần hồ ( vương ) Bồ Tát, "Dragon / Astral Fox (King) Bodhisattva", i.e. Dakiniten) as the incarnation of Vairocana, Mañjuśrī,VaiśravaṇaandCintāmaṇicakra(Nyoirin Kannon).

Myōgon-ji,aSōtō Zentemple inToyokawa,Aichi Prefecturefamous as a center of Dakiniten worship under the name 'Toyokawa Inari' ( phong xuyên đạo hà )

The cult of Dakiniten and that of Inari became inextricably fused that the name 'Inari' was even applied to places of Dakiniten worship, such asToyokawa Inari(Myōgon-ji), aSōtō Zentemple inToyokawa,Aichi Prefecture,where the goddess known as Toyokawa Dakini Shinten ( phong xuyên tra chỉ ni thật thiên ) is venerated as the guardian deity (chinju) of the temple. Legend claims that the Dakiniten of Toyokawa originally appeared toKangan Giin(1217–1300), a disciple ofDōgen(the founder of the Japanese Sōtō school), during his return from China in 1267. In the vision, he was given a mantra by Dakiniten, who vowed to become his protector. An image based on this apparition attributed to Giin, showing the goddess on a white fox and carrying rice sheaves on a pole on her right shoulder while holding acintāmaṇiin her left hand, was eventually transmitted to Giin's sixth generation disciple, Tōkai Gieki (1412–1497), who enshrined it at the temple he founded.

Another notable 'Inari' sanctuary is theNichiren-shūtemple Myōkyō-ji – popularly known as Saijō Inari (Nhất thượng đạo hà) – inOkayama,Okayama Prefecture,notable for its goddess Saijōikyōō Daibosatsu ( nhất thượng vị kinh vương đại Bồ Tát, lit. "Great Bodhisattva of the Supreme King of Sūtras" – a reference to theLotus Sūtra), who is portrayed as riding a white fox while bearing a pole laden with rice sheaves on her left shoulder and wielding a scythe on her right hand. This image reflects the two currents constituting the Inari tradition: the agricultural deity of Mount Inari and the esoteric Buddhist deity Dakiniten.

Imperial enthronement ceremony

See also:Amaterasu

The buddhaVairocanaof theDiamond Realm(Vajradhātu) making the 'wisdom fist'mudra( trí quyền ấn,chiken-in)

From the Middle Ages up until theMeiji period,theenthronement ceremonyof theJapanese emperorfeatured Buddhist elements. One such ritual performed during the emperor's accession was thesokui kanjō( vào chỗ quán đỉnh, "Abhiṣekaof Enthronement "), in which various mudras and mantras wereritually transmittedto and performed by the new emperor. The central deity (honzon) in this rite was Dakiniten, who is considered to be both the incarnation of the buddha Vairocana (Dainichi Nyorai) and the 'origin' (honji) of the sun goddess Amaterasu, the mythical ancestor of the imperial line; indeed, the emperor, upon ascending thethrone,was said to have formed the'wisdom fist' mudraassociated with Vairocana in theDiamond Realmwhile reciting Dakiniten's mantra.A text from 1324, theBikisho( mũi quy thư, "Record of Returning to Origins" ), also reports that when the ritual was performed in the imperial palace, two fox figurines – one gold and one silver – were placed to the left and right of the altar, and the new ruler was consecrated through an aspersion with water from "the four oceans".A medieval text stresses the rite's importance thus: "If he does not receive this ritual, the ruler's power is light and it cannot hold the four oceans. This is why this ritual is not limited to the king; monks of the various temples and profanes, too, when they perform it, can obtain a high rank and be perfectly free."

The origins ofsokui kanjōare shrouded in mystery; one tradition claims that a disciple of Ningai, Seison ( thành tôn, 1012–1074), first conducted it during the accession ofEmperor Go-Sanjōin 1068. Performance of the rite, however, eventually became the prerogative ofFujiwararegents,who transmitted the mantras to the new emperor during the ceremony. Indeed, a medieval legend justifies this custom by claiming that it started with the founding ancestor of the Fujiwara clan,Nakatomi (Fujiwara) no Kamatari,who was abducted in his youth by a she-fox (an avatar of Amaterasu). The fox taught Kamatari the enthronement rites and gave him a sickle (kama) with which he defeated his enemySoga no Iruka.One text even identifies Kamatari and Daten (Dakiniten) as manifestations of Amaterasu.

Amaterasuemerges from theHeavenly Rock Cave(Shunsai Toshimasa, 1889)

The connection between the fox, Dakiniten, and Amaterasu can also be seen in theKeiran Shūyōshū,which features the following retelling of the myth ofAmaterasu's hiding:

Question: What was the appearance of Amaterasu when she was hiding in the Rock-Cave of Heaven?

Answer: Since Amaterasu is the sun deity, she had the appearance of the sun-disc. Another tradition says: When Amaterasu retired into the Rock-Cave of Heaven after her descent from Heaven (sic), she took on the appearance of a dragon-fox (shinko). Uniquely among all animals, the dragon-fox is a kami that emits light from its body; this is the reason why she took on this appearance.

Question: Why does the dragon-fox emit light?

Answer: The dragon-fox is an expedient body of Nyoirin Kannon. It takes the wish-fulfilling gem as its body, and is therefore called King Cintāmaṇi.... Further, one tradition says that one becomes a king by revering the dragon-fox because the dragon-fox is an expedient body of Amaterasu.

Commenting on thesokui kanjō,Bernard Faurewrites:

under the name "Fox King," Dakiniten became a manifestation of the sun goddess Amaterasu, with whom the new emperor united during the enthronement ritual. [...] The Buddhist ritual allowed the ruler to symbolically cross over the limits separating the human and animal realms to harness the wild and properly superhuman energy of the "infrahuman" world, so as to gain full control of the human sphere.

Another type of secret enthronement ritual centered on Dakiniten took place on theOuter Shrine of Ise(Gekū) and was performed every morning and evening by the shrine's young female attendants orkora( tử lương or hồ lương – hồ being the character for 'fox') when they presented their daily offerings to the deity. There are two traditions related to its origins, one claiming that it goes back to Amaterasu herself through her priestessYamatohime,the other that it originated with Kūkai. In this way, thekora,and through them Amaterasu, came to be identified with Dakiniten. According to theBikisho:"Based on this [ancient practice of worshiping animals with special powers] at these [Ise] shrines, the shrine maidens (kora) perform the Ritual of the Astral Fox after presenting divine food. Its meaning is to show that the promise made in ancient times has not been forgotten. Therefore, the emperors, who are the descendants of the great deity [of Ise], are initiated in this method as part of their enthronement. "

Connection with foxes

Although Dakini-ten was said to be a powerful Buddhist deity, the images and stories surrounding it in Japan in both medieval and modern times are drawn from localkitsunemythology. The modern folk belief, often printed in Japanese books about religion, is that the fox image was a substitute for theIndian jackal,but the black jackal and other black animals are associated with Kali.

In theearly modern period,the ḍākinī rite devolved into various spells called Dakini-ten,Atago Gongen.Those who felt wronged in their village could go to a corruptyamabushiwho practiced black magic, and get him to trap akitsuneand cause it to possess a third party.Reports of possession became especially common in theEdoandMeijiperiods. For details, seekitsunetsuki.

Mantra

Toyokawa Dakini Shinten ( phong xuyên tra chỉ ni thật thiên )

TheMahāvairocana Tantraassigns the followingmantrato the ḍākinīs:

Sanskrit	Chinese characters
Namaḥ samanta-buddhānāṃ hrīḥ haḥ	Nam sao tam mạn nhiều bột chở lẩm bẩm( một )Kha( đi )唎( nhị hợp )Kha( thượng )

The following mantra meanwhile is associated with Toyokawa Inari and is said to have been revealed by Dakiniten to Kangan Giin:

Chinese characters	Japanese (romanized)
Úm thi la bà đà ni lê hồng sa bà kha	Onshirabattaniriunsowaka

This mantra is traditionally interpreted as meaning: "When this spell is chanted, the faith in me reaches everywhere, and by the true power of theBuddhist precepts,evil and misfortune will be abolished and luck and wisdom attained; suffering removed and comfort achieved, and pain transformed into delight. "

In Tibetan Buddhism

Dakini on a Gray Dog,NyingmapaBuddhist orBonRitual Card;18th- or 19th-century, watercolor on paper, 14 × 11 cm,Los Angeles County Museum of Art

Although ḍākinī figures appear inHinduismandBon,ḍākinīs occur most notably inVajrayana Buddhismand especiallyTibetan Buddhism.The khandroma, generally of volatile or wrathful temperament, acts somewhat as spiritualmusefor spiritual practice. Dakinis are energetic beings in female form, evocative of the movement of energy in space. In this context, the sky or space indicatesśūnyatā,the insubstantiality of all phenomena, which is, at the same time, the pure potentiality for all possible manifestations.

The ḍākinī appears in a Vajrayana formulation of theBuddhist refuge formulaknown as theThree Roots.Sometimes she appears as thedharmapala,alongside aguruandyidam.

The dakini, in her various guises, serves as each of the Three Roots. She may be a human guru, avajramaster who transmits the Vajrayana teachings to her disciples and joins them insamayacommitments. The wisdom dakini may be a yidam, a meditational deity; femaledeity yogassuch asVajrayoginiare common in Tibetan Buddhism. Or she may be a protector; the wisdom dakinis have special power and responsibility to protect the integrity of oral transmissions. "

An archetypal ḍākinī in Tibetan Buddhism isYeshe Tsogyal,consort ofPadmasambhava.

Classes

Judith Simmer-Brown,based on teachings she received from Tibetanlamas,identifies four main classes of ḍākinī. These follow thetwilight languagetradition ofesoteric Buddhismin referring to secret, inner, outer and outer-outer classes of ḍākinīs.

1. The secret class of ḍākinī isprajnaparamita(Tibetanyum chenmo), the empty nature of reality according toMahayanadoctrine.
2. The inner class of ḍākinī is the ḍākinī of themandala,a meditational deity (Tibetan:yidam) and fully enlightened Buddha who helps the practitioner recognise their own Buddhahood.
3. The outer ḍākinī is the physical form of the ḍākinī, attained throughcompletion stagetantra practices such as theSix Yogas of Naropathat work with thesubtle windsof thesubtle bodyso that the practitioner's body is compatible with an enlightened mind.
4. The outer-outer ḍākinī is a ḍākinī in human form. She is ayoginiin her own right but may also be akarmamudrā,or consort, of ayogiormahasiddha.

Dakinis can also be classified according to theTrikaya,or three bodies ofbuddhahood.

1. TheDharmakāyaḍākinī, which isSamantabhadrī,represents thedharmadhatuwhere all phenomena appear.
2. TheSambhogakāyaḍākinīs are theyidamsused as meditational deities for tantric practice.
3. TheNirmanakāyaḍākinīs are human women born with special potentialities; these are realized yoginis, consorts of gurus, or even all women in general as they may be classified into theFive Buddha Families.

Daka

In some instances, the termsḍākaandḍākinīhave been used for practitioners of tantric yoga themselves. In other instances, justḍākinīwas used for female practitioners, while male practitioners were just known asyogi.Padmasambhavawas known as a yogi andYeshe Tsogyal,a Tibetan princess, yogini and consort of Padmasambhava, as a ḍākinī.

The scholarMiranda Shawstated that "In Sanskrit there is only one word, Dakini. There are only female Dakinis... there is no male Dakini. It is an impossibility and a contradiction in terms."On the other hand,Pratapaditya Palstated, "bothdakasanddakinisoccur frequently in Tibetan literature, though the latter predominate. "

WhereasJan Willisin the chapterḐākinī; Some Comments on Its Nature and Meaningpoints out that"'she' isnot'female'. Though theḍākinīassuredly most often appears in female form... this is but one of themyriadof ways Absolute Insight chooses to make manifest its facticity. "

Tibetan Lamas trained in theGelugschool, such asSermey Khensur Lobsang Tharchin,and those of theKarma Kagyuschool such asKhenpo Karthar Rinpoche,write freely of "dakas and dakinis".Thubten Yesheclarifies their meaning: "what are dakas and dakinis? Simply speaking they are males and females who possess advanced experiences of tantric transformation and control and are therefore able to increase the blissful wisdom of a highly qualified practitioner."

In Anuttarayoga Tantra

Being associated with energy in all its functions, ḍākinīs are linked with the revelation of theAnuttarayoga Tantras,which represent the path of transformation, whereby the energy of negative emotions orkleshas,called poisons, is transformed into the luminous energy of enlightened awareness yielding the most profound experience ofclear light.Thubten Yesheexplains:

When thecompletion stagepractices have been mastered and we have gained control over oursubtle energywinds and so forth, there will come a time when the dakas and dakinis will come... physically embracing such a consort is necessary to bring all the pervading energy winds into the central channel, a prerequisite for opening theheart centerand experiencing the profoundest level of clear light.

In Dzogchen

Dancing ḍākinī, Tibet,c. 19th century

When considered as a stage on the Vajrayana Path, the ḍākinī is the final stages: the first is the guru, which corresponds to the initial realization of the true condition of reality, as this is introduced by the guru in theempowerment,if the disciple obtains what theInner Tantrascall peyi yeshe (Wylie:dpe yi ye shes) or the clarity of shunyata. The second is thedevata,which corresponds to themeditationinsofar as the devata is the method used for developing the state discovered in the initial realization of the true condition of reality. The third stage is the ḍākinī insofar as the ḍākinī is the source of the activities based on the realization of the guru and the meditation of the devata.

InDzogchenthese three correspond to tawa (lta ba), gompa (sgom pa) and chöpa (spyod pa): the first is the direct vision of the true nature of reality rather than an intellectual view of reality, as is the case with the term in other vehicles; the second is the continuity of this vision in sessions of meditation; and the third is the continuity of this vision in everyday activities. As a tantric practice, imperfections are used to make the vision uninterrupted. As the Base, the ḍākinīs are the energies of life; as the Path, they are the activities of advanced practitioners; as the Fruit, they are the actionless activities of realized Masters.

See also

• Apsara– Type of female spirit of the clouds and waters in Hindu and Buddhist culture
• Daayan– Type of witch in Indian culture
• Simhamukha– Tibetan Buddhist wisdom dakini (deity)
• Toyokawa Inari– Buddhist temple in Toyokawa, Aichi, Japan

References

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Further reading

• Campbell, June (1996).Traveller in Space: In Search of the Female Identity in Tibetan Buddhism.George Braziller.ISBN978-0-8076-1406-8.
• English, Elizabeth (2002).Vajrayogini: Her Visualizations, Rituals, and Forms.Wisdom Publications.ISBN978-0-86171-329-5.
• Haas, Michaela (2013).Dakini Power: Twelve Extraordinary Women Shaping the Transmission of Tibetan Buddhism in the West.Snow Lion.ISBN978-1559394079.
• Norbu, Thinley (1981).Magic Dance: The Display of the Self Nature of the Five Wisdom Dakinis(2nd ed.). Jewel Publishing House.ISBN978-0-9607000-0-4.
• Padmasambhava;Kunsang, Erik Pema (tr.) (1999).Dakini Teachings(2nd ed.). Rangjung Yeshe Publications.ISBN978-962-7341-36-9.

External links

• Dakinion khandro.net
• Media related toDakinisat Wikimedia Commons