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Torma

Torma (Tibetan: གཏོར་མ་, Wylie: gtor ma; Sanskrit: bali), deriving from "tor" meaning to scatter or give without attachment and "ma" meaning approximation or form, is a ritual offering in Tibetan Buddhism, typically consisting of sculptural effigies molded from roasted barley flour (tsampa) mixed with butter and often colored with natural dyes, serving as symbolic representations of deities, mandalas, or vast arrays of sensory offerings to engage divine beings during tantric practices.^[1]^[2] These edible structures, rooted in Vajrayana traditions, function not only as enticing gifts to Buddhas, bodhisattvas, and protectors but also as tools for exorcism, healing, and the expulsion of negative forces, embodying principles of generosity and purification.^[1] Historically, tormas trace their origins to ancient Indian and Tibetan Buddhist texts, with elaborate liturgies such as the "One Hundred Tormas" composed by the Fourth Panchen Lama (1570–1662) outlining their preparation and consecration in rituals that bridge human and divine realms.^[1] In practice, they vary from iconic forms depicting specific deities like Vajradhara to aniconic shapes symbolizing abstract concepts, and are employed in diverse contexts including fire pujas, ransom rituals (glud), and communal ceremonies to foster merit accumulation, obstacle removal, and social harmony within Himalayan communities.^[1] Tormas underscore a narrative of hospitality in Tibetan ritual life, where the acts of creating, offering, and sometimes consuming these items establish reciprocal relationships among participants, deities, and unseen entities, as explored in ethnographic studies of practices like the Accomplishing Medicine (sman sgrub) ritual.^[3] Beyond their spiritual role, tormas reflect cultural adaptability, incorporating local ingredients and motifs while maintaining core tantric functions, such as transforming hindrances into positive energies through visualization and recitation, as taught by prominent lamas in contemporary lineages.^[4] Their preparation demands skill and intention, often involving hand-molding into intricate designs that enhance ritual efficacy and community bonds in both monastic and lay settings across Tibetan-influenced regions.^[1]

Overview

Definition

Torma is a hand-molded ritual cake central to Tibetan Buddhist practices, primarily composed of tsampa—roasted barley flour—mixed with butter or yak butter to form a pliable dough that can be shaped into various forms.^[2] This dough is often colored using natural and mineral pigments, such as turmeric for yellow hues, vermilion for red, and indigo for blue, to enhance visual symbolism during rituals.^[1] Traditional tormas are impermanent and edible, while permanent versions can be made from materials such as clay, metal, or wood.^[5] In their basic forms, tormas range from simple conical or dome-shaped structures to more elaborate, multi-tiered sculptures that represent mandalas, deities, or symbolic offerings, often adorned with elements like sun and moon discs or floral motifs.^[1] These shapes are crafted by hand, allowing for intricate details that vary by ritual context, though the core structure emphasizes transience through perishable materials in traditional forms.^[2] The term "torma" derives from the Tibetan "gtor-ma," where "gtor" signifies scattering, offering, or giving without attachment, and "ma" is a feminine noun suffix indicating completeness or presence, as explained in traditional teachings attributed to Guru Padmasambhava.^[2] Its Sanskrit equivalent is "bali," referring to a ritual tribute or offering to deities.^[1] As offerings in Vajrayana traditions, tormas—particularly the traditional impermanent and edible ones—embody the principles of generosity—through its act of giving—and impermanence, as the sculptures are typically dismantled, scattered, or consumed after use to underscore the fleeting nature of existence and foster detachment.^[6] This role facilitates ritual interactions with enlightened beings, purifying obstacles and invoking blessings without enduring material attachment.^[5]

Significance

In Tibetan Buddhism, torma embodies core principles of impermanence and non-attachment through the transient, biodegradable composition of traditional forms, which are ritually offered, consumed, or destroyed to symbolize the fleeting nature of all phenomena and encourage detachment from material forms.^[1] This practice aligns with the Buddhist doctrine of anicca (impermanence), reminding practitioners that even elaborate creations must dissolve, thereby purifying karmic obscurations and fostering insight into the emptiness of inherent existence.^[4] Torma serves as a vital medium for engaging deities, protectors, and spirits in tantric rituals, acting as a symbolic bridge between the human realm and divine energies to invoke blessings, avert obstacles, and fulfill vows.^[7] In Vajrayana traditions, these offerings entreat enlightened beings and wrathful guardians, facilitating the practitioner's integration with sacred forces during empowerments and meditations.^[1] Through the act of presenting torma, practitioners accumulate merit essential to the Mahayana and Vajrayana paths, embodying the paramita of generosity (dana) by relinquishing possessions in devotion to the Three Jewels.^[8] This generative process not only purifies negative karma but also propels progress toward enlightenment, as offerings transform ordinary actions into vehicles for wisdom and compassion.^[4] Culturally, torma production in monasteries represents a communal art form that cultivates discipline through meticulous craftsmanship and creativity in sculpting symbolic motifs, strengthening monastic bonds and regional identities.^[1] Monks collaborate in this ephemeral artistry, honing skills that integrate aesthetic expression with spiritual discipline during festivals and retreats.^[9]

History

Origins

The practice of torma, ritual offerings shaped from dough, has roots in pre-Buddhist Tibetan traditions, particularly within the indigenous Bon religion, where similar offerings were used in shamanistic rituals to appease local spirits such as the lu (serpentine water deities) and naga (underground beings). These early forms involved simple food-based tributes to placate earth-bound entities and ensure harmony with the natural environment, reflecting animistic beliefs that predated the arrival of Buddhism in the region.^[10]^[7] Torma's integration into Tibetan religious life accelerated with the introduction of Indian tantric Buddhism during the 8th century CE, adapting the Sanskrit concept of bali—Vedic and Buddhist offerings of tribute or gifts to deities and spirits—into localized forms suitable for Vajrayana practices. Traditional Nyingma accounts credit Padmasambhava (Guru Rinpoche), invited by King Trisong Detsen to subdue obstructive forces, with refining these bali offerings into the distinctive Tibetan torma, transforming them into symbolic cakes that could represent deities, mandalas, or appeasements during the establishment of tantric Buddhism at Samye Monastery. This adaptation bridged Indian esoteric rituals with Tibetan shamanic elements, emphasizing torma's role in subduing local spirits to facilitate the spread of the Dharma.^[1]^[7] The earliest surviving textual references to torma-like dough offerings appear in 8th-9th century manuscripts from the Dunhuang cave library, which describe simple barley-flour preparations used in tantric rites within emerging Nyingma traditions. These documents, preserved amid the Tibetan Empire's control of the region (c. 786–848 CE), illustrate torma's use in invocations and empowerments, often alongside mantras for healing or protection.^[11] During the Tibetan Empire (7th–9th centuries), torma became embedded in state-sponsored Buddhism, serving both ritual and diplomatic functions as offerings in imperial ceremonies that legitimized royal authority and fostered alliances with neighboring powers. Kings like Songtsen Gampo and Trisong Detsen employed such practices to integrate Buddhist symbolism with indigenous rituals, using torma in temple consecrations and diplomatic exchanges to symbolize peace and spiritual reciprocity.^[12]

Evolution in Tibetan Buddhism

The practice of torma underwent significant revival during the "later diffusion" of Buddhism in Tibet in the 11th century, particularly through the efforts of the Indian master Atisha (982–1054), who transmitted detailed instructions on torma rituals from Indian tantric traditions. Atisha's teachings were passed to his Tibetan disciple Dromtönpa (1008–1074), who in turn disseminated them to the "Three Brothers"—Potowa (1027–1105), Chengawa (c. 11th century), and Phuchungwa (1031–1109)—foundational figures in the Kadam lineage. This transmission established torma as an integral component of Kadam ritual practices, emphasizing its role in offerings and deity visualizations, thereby integrating it more elaborately into Tibetan monastic life following the earlier suppression of Buddhism.^[2] In the Nyingma school, torma practices continued from earlier tantric traditions, evolving through terma revelations and long-standing liturgies for protector rites and subjugation rituals. Similarly, the Sakya lineage incorporated torma into advanced tantric practices, such as those in the Hevajra and Path with Result systems, using them in mandala offerings and empowerments from the 11th century onward. In parallel, the Kagyu lineage saw innovations in torma use through Marpa Lotsawa (1012–1097), the Tibetan translator who brought tantric instructions from India and adapted them for his disciples, including Milarepa (1052–1135). Marpa's emphasis on mahamudra and tantric practices incorporated tormas as symbolic offerings in guru yoga and protector rituals, fostering more dynamic and meditative applications within the Kagyu schools. These developments across Kadam, Nyingma, Sakya, and Kagyu lineages marked a shift toward more structured and sectarian-specific forms of torma, building on earlier Indian prototypes like bali offerings while adapting them to Tibetan cultural contexts.^[13] The Gelug tradition, founded by Tsongkhapa (1357–1419) in the 14th century, further standardized torma practices through his extensive writings on tantric rituals, such as the Guhyasamaja Tantra commentaries, where tormas were emphasized as essential for mandala offerings and monastic initiations. Tsongkhapa's reforms integrated torma into the Gelug curriculum, making it a core element of daily pujas and major festivals like Losar, with detailed prescriptions for construction and consecration to ensure doctrinal purity and efficacy. This standardization was further elaborated in the 17th century by the Fourth Panchen Lama (1570–1662), who composed the influential "One Hundred Tormas" liturgy, outlining elaborate preparations and consecrations.^[14]^[1] Mongol patronage significantly amplified torma rituals, beginning with the Sakya school in the 13th century, as imperial support under figures like Godan Khan (1206–1251) and Kublai Khan (1215–1294) funded grand monastic complexes and rituals, including large-scale torma offerings in state ceremonies. Later, in the 16th century, Mongol alliances under Altan Khan (1507–1582) elevated the Gelug school, enabling elaborate torma practices in major assemblies and festivals. In the 20th century, amid the Chinese occupation of Tibet starting in 1950, torma practices persisted in exile communities, particularly in Indian settlements like Dharamsala, where monasteries such as Namgyal re-established rituals using locally available materials for offerings in pujas and tantric empowerments. Tibetan refugees adapted these traditions to portable and simplified forms to maintain continuity in diaspora settings, ensuring torma's survival as a vital link to pre-occupation heritage despite resource constraints.^[15]

Materials and Preparation

Ingredients

The core base of traditional tormas consists of tsampa, or roasted barley flour, which provides the dough with its malleable consistency and serves as a staple symbolizing sustenance and abundance in Himalayan Buddhist practices.^[1] Butter or ghee is essential for binding the tsampa, imparting pliability for sculpting while representing purity and clarity of mind due to its clarified nature.^[4] Colorants derive from natural dyes and minerals to achieve symbolic hues such as red, yellow, black, and blue, enhancing the torma's ritual efficacy.^[1] These pigments are mixed into the butter base to ensure vibrancy without compromising the material's integrity.^[1] Additives vary by purpose, particularly for edible tormas consumed in communal rituals, where sugar or honey imparts sweetness to denote offerings of joy, and nuts or dried fruits add texture and nourishment as representative of worldly bounties.^[4] In regional adaptations, flour from other grains like wheat or rice may substitute tsampa in areas where barley is scarce, maintaining the dough's functionality while adapting to local resources.^[16] For non-edible tormas intended for prolonged display, variations include clay or paper-based composites in modern or resource-limited contexts, often reinforced for durability, though the tradition prioritizes organic, biodegradable materials to align with impermanence and environmental harmony.^[2]

Construction Techniques

The construction of torma begins with mixing tsampa, or roasted barley flour, with softened butter to create a dough that serves as the foundational material for all forms.^[1] This combination provides the necessary pliability, as the butter acts as a binding agent while the tsampa offers structure.^[17] The mixture is then kneaded thoroughly on a flat surface to develop elasticity and ensure the dough holds its shape without crumbling during molding.^[18] Once prepared, the dough is hand-molded into basic base shapes, such as cones representing mountains or stupas symbolizing enlightenment structures, using the palms and fingers for initial forming.^[17] In monastic environments, wooden molds known as gtor-par (or torpar) are pressed with the dough to produce symmetrical elements, such as sets of offerings or repetitive motifs like the eight auspicious symbols, facilitating efficient production for large rituals.^[19] For more detailed work, particularly in sculpting deity figures, small knives and fine tools are used to carve facial features, limbs, and ornaments directly into the softened dough.^[1] The building process unfolds in distinct stages: formation of the sturdy base layer to support the overall structure, followed by layering on colored pastes derived from natural pigments mixed with butter or water to achieve hues like white, red, or blue.^[1] These pastes are applied with brushes or fingers for precision, allowing intricate patterns to emerge before the piece is set aside to dry in a cool, shaded area, preventing cracking in the high-altitude Himalayan climate.^[17] Final embellishments, such as molded butter flowers for softness or embedded seeds for texture, are added once the form has partially set, enhancing both aesthetic appeal and ritual functionality.^[1] Construction techniques reflect varying skill levels within Tibetan Buddhist communities. Novice practitioners, such as junior monks or nuns, typically start with simple conical offerings that require basic hand-molding and minimal decoration.^[17] Advanced torma masters, trained at specialized institutions like Namgyal Monastery—the personal monastery of the Dalai Lama—produce elaborate multi-tiered pieces replicating mandalas or deity assemblies, often taking weeks of layered sculpting and refinement to complete.^[15]

Types

Deity Tormas

Deity tormas are intricate ritual sculptures in Tibetan Buddhism designed to embody specific tantric deities, serving as focal points for invocation and meditation. These anthropomorphic forms are crafted primarily from barley flour dough mixed with butter and colored with natural pigments, allowing practitioners to visualize and connect with the deity's enlightened qualities during ceremonies. Unlike simpler offering tormas, deity tormas replicate the iconic attributes of the represented figure, often placed centrally on shrines to manifest the deity's presence.^[1] Peaceful deity tormas, such as those representing Tara or Chenrezig (Avalokiteshvara), feature elongated and graceful forms that evoke serenity and compassion. For instance, a Chenrezig torma depicts the bodhisattva in a seated posture with four arms, crowned and positioned under symbolic floral elements like chrysanthemums, using white or multicolored dough to signify purity and boundless mercy; these are typically adorned with delicate butter jewelry, including floral motifs and pearl-like accents, to enhance their ethereal quality. Tara tormas similarly portray the goddess in a youthful, poised stance, often in green or white hues, with butter-crafted lotuses and silken sashes emphasizing her role as a swift protector. These sculptures, usually around 12 inches (30.5 cm) in height, are positioned at the center of altars during initiations, aiding practitioners in visualization meditation to cultivate empathetic qualities.^[1]^[20] In contrast, wrathful deity tormas, like those for Mahakala, adopt dynamic and intimidating postures to symbolize the forceful subdual of obstacles. Mahakala tormas show the protector in a fierce stance with bared fangs, three bulging eyes, and surrounding flames rendered in butter, using red-black coloring to represent the consuming power of enlightened activity; these command presence during protector invocations. A notable example is the red torma for Hayagriva in Nyingma rituals, sculpted with a horse-headed crown, writhing flames, and vibrant red dough to embody the transformation of anger into wisdom, placed prominently on shrines to invoke the deity's neighed mantra "HRIH" for dispelling ignorance. Such tormas, like their peaceful counterparts, draw from general preparation techniques involving heated butter for molding but are elaborated with more dramatic elements for tantric visualization.^[1]^[21]^[22]

Offering Tormas

Offering tormas serve as non-figurative ritual objects in Tibetan Buddhist practices, primarily designed to symbolize material and sensory devotion to deities and enlightened beings, distinct from sculptural representations of specific figures. These tormas, typically crafted from barley flour and butter, function as general offerings to generate merit and delight the senses of the divine, fostering a connection between practitioners and the sacred.^[1]^[5] A key form of offering tormas involves sets representing sense offerings, commonly arranged in groups of five or seven to evoke the sensory experiences of sight, sound, smell, taste, and touch, with additional items like form and pleasure in extended sets. These are often molded into bowl-like shapes and filled with symbolic substances such as flowers for visual appeal, incense for aroma, or grains for taste, placed on altars to transform ordinary perceptions into pure offerings that purify attachment and accumulate positive karma. In rituals, these tormas are presented sequentially, invoking the enjoyment of sensory pleasures by buddhas and bodhisattvas, thereby enhancing the practitioner's meditative focus and generosity.^[5]^[1] Accumulative offering tormas, such as the stacked conical varieties known as gtor-chen, are employed in prosperity rituals to invoke abundance and remove obstacles to wealth and well-being. These tall, layered structures, built by piling dough forms upward, are adorned at the apex with jewels, grains, or other emblems of fertility and riches, symbolizing the multiplication of merits and the bestowal of material and spiritual bounty by protective deities. During ceremonies, they are offered to invite blessings for communal harmony and economic flourishing, often concluding with dispersal to signify the sharing of prosperity.^[23]^[1] Edible variants of offering tormas emphasize communal participation, consisting of smaller, simplified cakes made from consumable ingredients like flour, butter, and sweeteners, which are blessed during the ritual and then distributed among attendees. This practice underscores the theme of interdependence and joy in sharing sacred substances, allowing participants to internalize the ritual's blessings through ingestion and reinforcing social bonds within the sangha.^[1]^[5] Prominent examples include white tormas (dkar gtor), plain and unadorned dough forms colored white to represent purity and simplicity, offered to buddhas during daily puja to express untainted devotion and invite enlightened qualities. These are typically placed on basic bases like moon disks and presented in straightforward ceremonies, serving as foundational offerings in both monastic and lay practices to cultivate clarity and merit accumulation.^[24]^[1]

Subjugation Tormas

Subjugation tormas, known in Tibetan as gtor ma 'dul byed, are ritual effigies employed in Vajrayana Buddhist practices to bind, neutralize, or dispel malevolent forces, obstacles, and negative influences that hinder spiritual progress or cause harm.^[1] These tormas differ from offerings by their confrontational role, often sculpted in fierce forms to symbolize the subduing of demons or adversarial spirits through tantric visualization and mantra recitation.^[1] Captured tormas, or gta' gtor, function as symbolic traps for capturing and containing obstructive entities during rituals. Crafted typically from barley flour (tsampa) and butter, these effigies are bound with colored threads—often red or black to represent binding energy—and empowered through invocations to ensnare demons or obstacles, preventing them from interfering until the ritual's objective is achieved.^[2] Once the activity, such as a healing or protection ceremony, is complete, the torma is dismantled or offered to release the captured forces in a transformed state, ensuring their neutralization without backlash.^[1] This practice draws from ancient Indian tantric traditions adapted in Tibet, emphasizing the practitioner's authority over chaotic energies.^[1] Medicinal tormas, sometimes called lu gtor or healing effigies, integrate ritual with folk healing by infusing the dough with medicinal herbs, minerals, or consecrated substances to extract illnesses believed to stem from spirit possession or imbalance. In these rites, the torma is visualized as absorbing the patient's affliction—such as respiratory ailments or chronic pain—through physical contact or mantra projection, after which it is discarded to expel the negativity.^[1] Distributed as blessed remedies in rural Tibetan and Bhutanese communities, these tormas blend Buddhist liturgy with indigenous pharmacology, often incorporating items like wool threads or aromatic plants for enhanced efficacy.^[25] Throwing rituals involving subjugation tormas, referred to as gtor gyag or scattering ceremonies, utilize red or black tormas to disperse accumulated negativity at the ritual's conclusion. These darkly hued effigies, molded into wrathful shapes, are hurled toward crossroads, rivers, or charnel grounds to symbolize the expulsion of impurities, evil influences, and karmic obstacles, thereby purifying the participants and environment.^[1] Performed post-ceremony, such as after cham dances or fire pujas, the act reinforces the ritual's protective intent, with the torma's dissolution in natural elements ensuring the negativity's permanent dissipation.^[1] A notable example occurs in Gelugpa protector rites invoking Pehar Gyalpo, the oracle spirit and guardian of Tibetan Buddhism, where subjugation tormas are offered in skullcups filled with sense offerings to empower Pehar in binding adversarial forces.^[26] These rituals, rooted in the Fifth Dalai Lama's integration of Pehar into Gelug practice, employ the tormas to affirm Pehar's oath-bound role in safeguarding dharma centers from harm, combining visualization of his five manifestations with the effigies' binding symbolism.^[27]

Ritual Uses

In Worship and Offerings

In Tibetan Buddhist monasteries, tormas play a central role in daily devotional practices, where they are placed on altars alongside incense, butter lamps, and other offerings to honor deities and accumulate merit. These daily tormas, known as rgyun gtor, are offered during routine pujas, such as recitations of the Avalokiteshvara liturgy composed by the Fourth Panchen Lama, or as part of accumulating 100,000 prostrations and mantra repetitions to cultivate devotion and purify obstacles.^[1]^[28] During major festivals, tormas take on more elaborate forms to mark communal celebrations and invoke blessings for the coming year. In Losar, the Tibetan New Year, intricately sculpted tormas, such as the ludzong variety representing auspicious abundance, are displayed publicly and used in rituals to dispel negativity and welcome prosperity.^[1] Among lay practitioners, simplified tormas are commonly made at home to offer to household protectors and local deities, known as yul lha or zhi dak, fostering harmony and protection for the family. These offerings, often shaped by family members using basic ingredients like tsampa and butter, are placed on domestic shrines and shared as blessed food after the ritual, adapting monastic traditions to everyday life.^[1]^[29] The ritual sequence for torma offerings in worship typically begins with invocation to consecrate the torma through mantras like OM AH HUM, followed by recitations from texts such as those in the Longchen Nyingtik tradition for peaceful and wrathful deities, entreating the recipients to accept the offering. The process concludes with consumption by participants, dispersal to the environment, or burning in fire rituals like torgyak to release intentions and eliminate hindrances.^[30]^[1]^[29]

In Tantric Practices

In tantric initiation (wang) ceremonies within Tibetan Buddhism, tormas are offered as symbolic substances, and blessed portions may be distributed to participants to support commitment to the vows of the practice, reinforcing the esoteric path.^[31] These rituals often feature iconic tormas representing deities like Vajradhara, which are central to the empowerment process, as detailed in texts such as the Fourth Panchen Lama's "One Hundred Tormas."^[1] During deity yoga, practitioners visualize inner tormas internally, transforming the offering into a meditative support for generating the deity's form and qualities within the body.^[1] At the secret level of offerings in highest yoga tantra, red tormas—glazed with red coloring and adorned with butter ornaments—are employed exclusively by advanced practitioners to symbolize profound esoteric elements, facilitating rituals that invoke controlling energies.^[7] These tormas, distinct from outer tantra offerings, represent the integration of sensory experiences in tantric union, reserved for those with the requisite initiations to handle such potent symbolism.^[1] In the very secret levels of practice, particularly during the completion stage, the dissolution or burning of tormas symbolizes the ego-death and dissolution of dualistic perceptions, aligning with transformative processes in completion stage practices.^[1] This act ritually enacts the stages of inner dissolution, where the practitioner meditates on the torma's impermanence to realize the clear light mind, mirroring the tantra's emphasis on subtle energy winds and the cessation of ordinary consciousness.^[29] Protector pujas for dharmapalas such as Mahakala incorporate specialized tormas, often red in color and sculpted with blood-like red butter to invoke the deity's fierce protective energies and avert obstacles.^[32] These offerings, known as session tormas in Mahakala practices, are presented to summon the protector's wrathful aspect, ensuring the safeguarding of tantric commitments and the expulsion of adversarial forces. In broader tantric contexts, tormas are also used in fire pujas to burn away obstacles and in ransom rituals (glud) for exorcism and healing, transforming negative forces through visualization and offering.^[1]^[1]

Symbolism and Interpretation

Visual Elements

Tormas exhibit a diverse array of shapes that balance aesthetic expression with practical considerations for ritual use. Tormas offered to peaceful deities are typically conical with a lotus base.^[33] Tiered stupa-like structures are employed for representations of mandalas, stacking multiple levels to symbolize cosmic hierarchies and architectural sanctity.^[1] In contrast, tormas depicting wrathful figures often adopt asymmetrical or triangular profiles, with sharp angles and elongated peaks to evoke dynamic energy and intimidation.^[1] Color plays a central role in the visual design of tormas, drawing from the traditional palette associated with the five Buddha families to align the offerings with specific enlightened qualities. White represents the Vairocana family, symbolizing purity and space; blue corresponds to Akshobhya, denoting mirror-like wisdom; yellow aligns with Ratnasambhava for equanimity; red evokes Amitabha's discriminating awareness; and green signifies Amoghasiddhi's all-accomplishing action.^[34] These hues are derived from natural pigments mixed into the butter and flour base, then applied in successive layers to build depth and luminosity, enhancing the sculptures' radiant appearance under ritual lighting.^[1] Proportions in tormas, especially those portraying deities, follow established iconometric guidelines rooted in Buddhist artistic canons, ensuring figures convey divine harmony and balance. For iconic deity tormas, the body structure adheres to proportional systems akin to those in thangka paintings, with the torso and limbs scaled accordingly to maintain symmetry and grace.^[35] This approach, derived from textual prescriptions, results in figures approximately 12 inches (30.5 cm) tall, allowing for intricate detailing without compromising structural integrity.^[1] Embellishments elevate the aesthetic complexity of tormas, incorporating fine details that mimic the ornate qualities of painted or sculpted Buddhist icons. Flat circular "buttons" crafted from dyed butter are pressed onto surfaces to represent jewelry, eyes, or ornamental motifs, adding texture and subtle sheen.^[32] Additional elements such as sculpted butter flowers or curls simulate hair and flowing garments, while layered lotus petals, radiant discs, and mythical motifs like dragons provide visual depth and symbolic richness.^[1]

Esoteric Layers

In tantric philosophy, the ritual dissolution of the torma into space symbolizes the direct realization of shunyata, or emptiness, the ultimate absence of inherent existence in all things, allowing practitioners to transcend dualistic perceptions. This aspect is particularly emphasized in Dzogchen teachings, where the torma's impermanent construction and deconstruction mirror the natural dissolution of appearances into the primordial ground of awareness, fostering a non-conceptual understanding of reality's empty yet luminous nature.^[36] Psychologically, the practice of throwing torma, as in the Gutor ritual preceding Losar, functions as a transformative act symbolizing the ejection of delusions, obstacles, and negative karmic imprints from the mindstream. This external gesture aligns with Vajrayana's path of purification and transformation, where the forceful expulsion reinforces internal renunciation, clearing mental defilements and affirming the practitioner's resolve to actualize buddhahood by converting poisons into wisdom.^[37]

Cultural and Modern Aspects

Traditional Contexts

In traditional Tibetan society, torma's preparation and use were deeply embedded in monastic education, where it formed a core component of ritual training. Monks underwent specialized instruction in torma-making as one of six essential ritual arts, typically over a three-year apprenticeship under senior practitioners in major institutions. This training emphasized sculpting dough from barley flour (tsampa) mixed with water, butter, or oil into symbolic forms representing deities, offerings, or mandalas, often adorned with colored butter motifs and consecrated through mantras like OM AH HUM to invoke divine qualities. Such skills were vital for performing complex ceremonies, including initiations and daily offerings, ensuring the ritual's efficacy in generating merit and appeasing protectors.^[38] Among lay communities, particularly in rural areas of Amdo and Kham, tormas served practical folk purposes beyond formal liturgy, often invoking blessings for agricultural prosperity and protection against environmental hardships. In Bonpo-influenced regions, households commissioned monks to craft tormas during rituals like the Sokha ceremony, using local roasted barley flour to symbolize abundance and offer to household deities for the well-being of families, livestock, and crops, thereby fostering communal harmony and averting threats such as scarcity or calamity. These offerings, sometimes incorporating fermented barley beer or grains as additives, underscored torma's role in integrating indigenous agrarian concerns with spiritual practice, where the act of creation and destruction of the torma ritually transferred negativity away from the community.^[39]^[1] Gender dynamics in torma production reflected monastic hierarchies, with the craft predominantly a male domain executed by ordained monks in both Buddhist and Bon traditions, due to its tantric and ritual purity requirements. However, in Bön-influenced areas of eastern Tibet, laywomen occasionally prepared simplified versions for domestic altars, kneading basic dough forms without elaborate adornments to offer at home shrines during personal or family rites, thus adapting the practice to lay life while maintaining its symbolic intent. This limited participation highlighted torma's flexibility in bridging institutional and vernacular devotion.^[38]^[39] Regional variations in torma styles mirrored Tibet's diverse ecology and resources, with Central Tibetan examples often featuring larger, ornate constructions embellished with intricate butter sculptures and dyes for grand monastic events, symbolizing opulence and divine manifestation. In contrast, eastern nomadic communities of Amdo and Kham favored minimalist designs, relying on readily available tsampa dough with herbal infusions or simple grain toppings, suited to portable rituals that emphasized functionality over elaboration in harsh, mobile lifestyles. These differences not only adapted torma to local materials but also reinforced cultural identities within broader Tibetan ritual frameworks.^[39]^[1]

Contemporary Adaptations

Following the Chinese occupation of Tibet in 1959, Tibetan refugees in exile communities in India and Nepal adapted torma preparation due to limited access to traditional barley tsampa, ensuring continuity of offerings amid resource constraints in refugee settlements. Additionally, traveling lamas adopted portable metal or wooden torma ornaments as durable substitutes for perishable butter-based sculptures, facilitating rituals during migrations and teachings abroad.^[40] The global diaspora of Tibetan Buddhism has led to torma's integration into Western centers, where simplified versions accommodate local ingredients and ethical preferences. For instance, in communities affiliated with the Foundation for the Preservation of the Mahayana Tradition (FPMT), tormas are prepared for rituals while aligning with vegetarian or vegan guidelines emphasized by leaders like Lama Zopa Rinpoche to minimize harm to sentient beings.^[4]^[41] Examples include demonstrations at U.S.-based centers like the Palyul Guru Lhakhang in New York, where tormas support reversal rituals like the Gutor Puja.^[1] Contemporary artistic revivals have elevated tormas beyond ritual use, with exhibitions in museums blending traditional craftsmanship and modern aesthetics. The Rubin Museum of Art in New York has showcased torma sculptures, such as those from Labrang Monastery depicting Vajradhara and Avalokiteshvara, through displays and live-making sessions that highlight their ephemeral beauty and cultural significance.^[1] Events like Losar celebrations at the museum feature expert sculptors creating butter tormas, attracting global audiences and fostering appreciation of this art form outside religious contexts.^[42] Preservation efforts face challenges from climate change, which disrupts yak herding and butter production essential for traditional tormas on the Tibetan plateau. Initiatives like the Gyalwang Karmapa's instructions to torma makers emphasize sustaining the craft amid declining resources, while projects such as "Golden Butter, Golden Motherland" engage communities to adapt yak dairy practices.^[9]^[43] Post-2020, the COVID-19 pandemic prompted digital adaptations, with online pujas and virtual retreats—such as Tara Mandala's sessions on torma preparation—using visualizations and streamed demonstrations to enable remote participation in rituals. As of 2025, these digital formats continue to evolve, supporting global access to torma-related teachings amid ongoing diaspora challenges.^[44]^[45]

References

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Tormas | Project Himalayan Art - Rubin Museum
Effigies known as torma and usually made of flour and butter—staples in the Himalayan diet—are used as enticing offerings to deities.
[2]
Narratives of Hospitality and Feeding in Tibetan Ritual
May 3, 2013 · Abstract. This article proposes that many Tibetan rituals are shaped by a language of creating, giving, and eating food.
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Lama Zopa Rinpoche Explains Tormas - FPMT
Mar 20, 2017 · Tor in Tibetan is that which, when the hurricane or tornado comes, the whole city, whole town, after one hour, is totally destroyed.Missing: scholarly | Show results with:scholarly
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Torma - Rigpa Wiki
Feb 18, 2018 · A ritual cake, usually hand-moulded from butter and tsampa (roasted barley flour) and coloured with dyes, which can symbolize a deity, a mandala, an offering, ...
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Torma, Gtor-ma, Tormā: 3 definitions
Oct 24, 2024 · Torma refers to a “ritual cake”, usually hand-moulded from butter and tsampa (roasted barley flour) and coloured with dyes, which can symbolize a deity, a ...
[6]
https://enlightenmentthangka.com/blogs/thangka/machig-labdron-lineage-tree-thangka-a-deep-dive-into-the-thangka-and-its-tibetan-buddhist-roots
[7]
Torma - Samye Pathways
Torma are sculptures made traditionally of edible dough. In Vajrayana Buddhism they can be used in a variety of contexts, most commonly serving as offerings.
[8]
[PDF] Tormas: The Practice of Offering and Accumulation of Merit - Ocean
Tormas are associated with many aspects of Vajrayana Buddhist practice. Sometimes described by westerners as 'Tibetan ritual cakes,' tormas are actually made ...
[9]
Preserving a Unique Spiritual Art Form,Gyalwang Karmapa Instructs ...
Dec 30, 2011 · Tibetan butter sculptures, sometimes loosely referred to tormas, are ritual cakes typically made of butter and other substances and often ...<|control11|><|separator|>
[10]
Torma: Ritual Offerings - Mandala Collections
In its origins, torma were essentially food offerings. Food and other pleasant items were made to various recipients in order to placate, worship or honour ...Missing: shamanism lu Padmasambhava
[11]
https://earlytibet.com/2012/09/11/monks-and-mahayoga/
[12]
https://oxfordre.com/asianhistory/display/10.1093/acrefore/9780190277727.001.0001/acrefore-9780190277727-e-193
[13]
Namgyal Monastery as it exists today in India
His Holiness then re-established Namgyal Monastery in India, and a small group of new, young monks from various Tibetan refugee ... torma offerings, sand ...
[14]
[PDF] A Survey of Tibetan Pigments
Tibetan pigments include mineral pigments (rdo-tshon and sa-tshon) and organic dyes (tshos). Mineral blue and green come from azurite and malachite.Missing: sandalwood turmeric
[15]
The Ephemeral Butter Art of Tibetan Buddhism - Gastro Obscura
May 23, 2018 · “The word tor means to throw or to scatter,” she says. “The suffix -ma means mother in Tibetan, which means love.” Different lineages of Tibetan ...
[16]
Learning and Practicing the Sacred Arts of Tibet - Tibetan Nuns Project
Mar 4, 2021 · Tormas are figures used as offerings in Tibetan Buddhism or as part of tantric rituals. Made mostly of flour and butter, tormas are usually ...
[17]
Torma, the multipurpose Buddhist ritual cake - Daily Bhutan
Oct 4, 2021 · For the colours, you may use dyes on your torma. And ta-da, you have yourself a torma! In Bhutan, tormas are usually made by the monks and some ...
[18]
Torma - Dharma Wheel
Oct 21, 2012 · Pour out some in a mixing bowl. Add the three whites and the three sweets (cream, yogurt, and butter, sugar, molasses, and honey), but not too much.Missing: composition | Show results with:composition
[19]
Subject: Torma Molds (Wood) - Himalayan Art Resources
Torma molds are carved wooden lengths used to create dough replicas for Buddhist and Bon rituals. They can be single or sets of wood, sometimes stained.<|control11|><|separator|>
[20]
Avalokiteshvara, torma butter sculpture | Project Himalayan Art
### Summary of Avalokiteshvara Torma Design
[21]
Item: Mahakala (Buddhist Protector) - Bernag Chen (Black Cloak)
The fiercely wrathful, Black Cloak Mahakala is dark in colour, with one face, three round bulbous eyes, a large gaping red mouth with bared fangs.
[22]
Buddhist Deity: Hayagriva Traditions - Himalayan Art Resources
Hayagriva is common to both the Nyingma and Sarma Schools (Sakya, Kagyu and Gelug) and his practices are found ranging from simple forms to complex deities.Missing: symbolism | Show results with:symbolism<|control11|><|separator|>
[23]
Ritual Texts of Prosperity and Purification - Oxford Academic
In addition to incense offering, the rites of prosperity involve the offering of ritual cakes (gtor ma), vodka libation, recitation of mantras, and ...
[24]
Torma Offering Series - Lotsawa House
Mantras and verses to be recited when offering a torma for the eight classes of spirits as part of a drum rite (rnga chog) according to the Dodrupchen Monastery ...Missing: Dunhuang dough
[25]
Tibetan Butter Sculpture - An Ancient form of Tibetan Art - Tibet Vista
Jun 1, 2017 · The exact origin of butter sculpture, also known as “Tsepdro” or “Torma”, is shrouded in myth. There are two current versions of how it began.
[26]
Item: Worldly Protector (Buddhist) - Pehar - Himalayan Art Resources
Arranged in front are three white skullcups brimming with torma of the five senses, nectar and an offering of blood. At the upper left in the western direction ...
[27]
Buddhist Worldly Protector: Pehar Gyalpo Main Page
Pehar is believed to be a non-Tibetan spirit subjugated by Guru Rinpoche and bound by an oath to protect all the Buddhist temples and monasteries of Tibet.Missing: torma | Show results with:torma
[28]
Tibetan Buddhist Prayers or Pujas
Mar 19, 2025 · Tibetan Buddhist nuns at Dolma Ling Nunnery ... Tibetan tormas, Tibetan Buddhist nuns, Tibetan sacred arts, tormas, Tibetan ritual arts.
[29]
What Does Tibetan Buddhism Believe?
Losar (Tibetan New Year) ... The festival culminates with rituals and public displays of intricate butter sculptures called torma. 3. Saga Dawa. Saga Dawa ...
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Drikung Kagyu Rinchen Monastery | Volunteering in Nepal
Dec 28, 2018 · Torma Offerings – Ritual food offerings to deities and ... Saga Dawa Celebrations – Honoring Buddha's birth, enlightenment, and passing.
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18: The Completion Practices - Lama Yeshe Wisdom Archive |
First, bless the tormas. When you do, bless all three together, then offer them individually. The first torma is offered to Chenrezig and the five types of ...
[32]
Notes on Longchen Nyingtik Tormas - Lotsawa House
As for the ornaments of the tormas of the Three Roots, for the peaceful deities there are the 'patra' designs, and for the wrathful deities the fire mountains.
[33]
Narratives of Hospitality and Feeding in Tibetan Ritual - jstor
May 3, 2013 · age, bright red "torma adorned by samaya substances vast like a moun ... and onions before a tantric initiation. How do Tibetan Buddhists ...
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Subject: Torma Offering Main Page - Himalayan Art Resources
Torma are cone shaped ritual food offerings sculpted in a variety of shapes and sizes, coloured and then adorned with flat circular 'buttons' made from butter.<|control11|><|separator|>
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The Importance of Offerings - Jampa Ling
Oct 12, 2018 · Tormas offered to peaceful deities are conical with lotus bases and those destined for wrathful deities are triangular with decorates of flames.
[36]
The Five Buddha Families | Lion's Roar
The five buddha families, traditionally displayed as a mandala, are an ancient Buddhist system of understanding enlightened mind and its various aspects.
[37]
Himalayan Buddhist Art 101: Iconometry, Proportions & Guidelines
Apr 25, 2013 · The theory of iconometry is based on taking measurements of the various parts of the human body—head, torso, limbs, fingers—and comparing those ...Missing: torma | Show results with:torma
[38]
Commentary on Peaceful Torma Purifying Pollution, Part B
So here it's talking about torma, so the torma, torma dissolved, then there's just space. ... purification, offering, emptiness (shunyata), meditation · VIEW ...
[39]
[PDF] Introduction to Tibetan Buddhism by John Powers - SelfDefinition.Org
... Festivals and Holy Days. 219. Mönlam. 219. The Butter-Sculpture Festival of ... Losar”). During this time, monks from the great monasteries of Drébung and ...
[40]
The Differences among the Four Classes of Tantra - Study Buddhism
The first three classes have the outer set of offerings (phyi'i mchod-pa). It's only anuttarayoga tantra that has the inner (nang-mchod), secret (gsang-mchod), ...
[41]
[PDF] Mahamudra - His Holiness the Sakya Trizin
Rather than achieving merits, these expecta- tions can create serious obstacles to our practice. ... through the yoga of expelling obstructors. Fully ...
[42]
None
Below is a merged summary of torma in "Magic & Ritual in Tibet: The Cult of Tara" by Stephan Beyer, consolidating all the information from the provided segments into a comprehensive response. To retain the maximum detail and ensure clarity, I will use a structured table format in CSV style for key aspects (Preparation, Uses in Rituals, etc.), followed by additional narrative sections for Historical Context, Sources, and URLs. This approach allows for a dense, organized representation of the data while preserving all details.
[43]
Preserving Intangible Aspects of Cultural Materials: Bonpo Ritual ...
Aug 6, 2025 · This paper focuses on votive clay objects (tsha-tshas) and barley-dough offering sculptures (tormas). Processes encompassing intangible aspects ...<|separator|>
[44]
Tsampa: The Tibetan Cereal That Helped Spark An Uprising
Jun 23, 2019 · The word tsampa in Tibetan usually refers to ground-up, roasted barley flour, although occasionally the flour comes from wheat or another grain.
[45]
[PDF] economic adaptation of tibetan refugees in india
Jul 19, 1999 · As per reports of the Planning Council, there are presently 54 refugee settlements established in India, Nepal and Bhutan since 1959.Missing: torma substitutes
[46]
https://tibetanspirit.com/products/torma-ornaments-kargyen
[47]
On Becoming a Vegan: When Vegetarian is Not Enough - FPMT
Veganism is not just a diet. It is not just a “lifestyle.” It is a nonviolent act of defiance. It is a refusal to participate in the oppression of the innocent ...
[48]
On Being Vegetarian | Lama Yeshe Wisdom Archive
Lama Zopa Rinpoche explains how to benefit animals by becoming vegetarian. Rinpoche also discusses tsog offering, a Highest Yoga Tantra practice.
[49]
Rubin - Facebook
Feb 10, 2023 · Watch an expert torma maker create beautiful butter sculptures. ... Profile photo of Rubin Museum of Himalayan Art. Rubin Museum of ...
[50]
Better Butter - by Anna Souter - art and ecology - Substack
Jul 12, 2024 · His project Golden Butter, Golden Motherland centres on participatory action with local Tibetans of different ages.
[51]
All About Tormas, Shrine Set-Up and Tsog – VIRTUAL RETREAT
Virtual Retreats are Tara Mandala At-Home intensive retreats, teachings and in-depth workshops during which practitioners receive dharma teachings.
[52]
Tibetan Buddhist Adaptations in the Post-Pandemic World
Apr 9, 2025 · Monasteries and senior Buddhist figures began live-streaming prayers, meditation sessions, and empowerment rituals via YouTube, Facebook, and ...Missing: torma | Show results with:torma