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Mandala of the Two Realms

The Mandala of the Two Realms (Ryōkai Mandara), a foundational element of Japanese Esoteric Buddhism, comprises two interconnected diagrammatic representations of the Buddhist cosmos: the Womb Realm (Taizōkai) mandala, symbolizing compassion and the fundamental principle of reality, and the Vajra Realm (Kongōkai) mandala, embodying wisdom and enlightened insight.^[1]^[2] These mandalas, typically rendered as two-dimensional paintings or scrolls, depict hierarchical arrangements of deities, Buddhas, and symbolic elements centered on the cosmic Buddha Dainichi Nyorai (Vairocana), serving as meditative and ritual tools to realize the non-dual unity of body, speech, and mind.^[3]^[4] Introduced to Japan in the early ninth century by the monk Kūkai, founder of the Shingon school, the mandalas were transmitted from Tang China, where they were systematized by the esoteric master Huiguo based on Indian Vajrayana traditions.^[1]^[2] The Womb Realm mandala features a more organic, palace-like structure with 414 deities organized into twelve sections, representing the nurturing and phenomenal aspects of enlightenment, while the Vajra Realm employs a stricter geometric layout with 37 primary deities across nine assemblies, emphasizing the indestructible nature of wisdom.^[1]^[4] Together, they illustrate the esoteric doctrine of the "two realms" (ri and chi, or principle and wisdom), which are interdependent and unified in the practitioner's attainment of buddhahood in this lifetime—a core tenet of Shingon and Tendai Buddhism.^[2] In ritual practice, the mandalas are displayed during initiation ceremonies (kanjō) and meditation sessions, often on altars with the Womb Realm oriented eastward and the Vajra Realm westward, guiding devotees through visualization to awaken innate buddha-nature.^[2] Surviving examples, such as those from the Heian period (794–1185) at Tōji Temple in Kyoto, are designated National Treasures and exemplify the intricate interplay of iconography, color, and symmetry in Japanese Buddhist art.^[1] Later Kamakura-period (1185–1333) versions, like hanging silk scrolls, incorporate gold and vibrant pigments to convey the mandalas' cosmological depth, influencing ongoing esoteric traditions at sites like Mount Kōya.^[3]

Historical Origins

Indian Tantric Roots

The Mandala of the Two Realms traces its origins to the development of Vajrayana Buddhism in India during the 7th and 8th centuries, a period marked by the emergence of esoteric tantric practices that integrated meditative visualization, ritual empowerment, and symbolic cosmology. This tradition, often classified under yogatantras, emphasized the non-dual nature of reality, where the practitioner's mind mirrors the enlightened qualities of the Buddha. Central to this evolution was the Mahāvairocana Tantra (also known as the Mahāvairocana Sūtra), composed around the mid-7th century, which positioned Vairocana Buddha at the core as the embodiment of the dharmakāya, the ultimate reality beyond form and duality. In this text, Vairocana represents the pervasive wisdom illuminating all phenomena, serving as the foundational figure for subsequent mandala constructions that visualize the universe as an extension of enlightened awareness.^[5] Mandalas in this Indian tantric context served primarily as ritual diagrams for abhiṣeka (empowerment initiations) and deity yoga practices, enabling practitioners to experientially realize non-dual reality through visualization and mantra recitation. During abhiṣeka ceremonies, the mandala acted as a consecrated space where the guru transmitted esoteric lineages, purifying the initiate's body, speech, and mind to align with buddhahood. Deity yoga, involving the generation and dissolution of divine forms, further reinforced this by collapsing distinctions between self and the sacred, fostering direct insight into the empty yet luminous nature of all phenomena. A key conceptual precursor was the garbhadhātu (womb realm), articulated in the Mahāvairocana Tantra as the primordial matrix from which all phenomena arise, symbolizing the compassionate ground of existence that nurtures enlightenment. This notion prefigured later delineations of realms within mandalas, emphasizing generative potential over rigid separation.^[6]^[7] Although the foundational elements originate in India, the pairing of the Womb and Vajra Realms into a unified 'Two Realms' system was a development in Chinese esoteric Buddhism.^[8] These Indian tantric elements were transmitted to China in the early 8th century through figures like the monk Śubhakarasiṃha, who translated the Mahāvairocana Sūtra around 724–725 CE, bridging the foundational practices to East Asian esoteric traditions.^[9]

Key Scriptural Foundations

The Mahāvairocana Sūtra (Sanskrit: Mahāvairocana-sūtra; Japanese: Dainichikyō), composed in the mid-7th century in India, forms the primary doctrinal foundation for the Womb Realm (Garbhadhātu) Mandala. This text presents Vairocana Buddha as the cosmic central figure, embodying the dharmakāya (truth body) and radiating the essence of all Buddhas, with the mandala depicting him surrounded by 12 attendant Buddhas symbolizing the unfolding of enlightened qualities.^[5] The sūtra emphasizes compassion (karuṇā) as the nurturing force of enlightenment, integrating the five wisdoms—mirror-like, equality, discriminating, all-accomplishing, and dharmadhātu wisdoms—through which phenomena are purified and transformed into the enlightened realm.^[5] Complementing this, the Vajraśekhara Sūtra (Sanskrit: Vajraśekhara-sūtra; Japanese: Kongōchōkyō), compiled in the 8th century, provides the scriptural basis for the Vajra Realm (Vajradhātu) Mandala. It centers on Vajrasattva as the primary deity, representing the indestructible nature of wisdom (prajñā), likened to a diamond (vajra) that cuts through ignorance without being altered. The sūtra outlines the mandala's structure as a dynamic expression of non-dual wisdom, where the vajra symbolizes unyielding clarity and the indivisibility of emptiness and form. Together, these sūtras constitute the "two wheels" (Sanskrit: cakradvaya) of esoteric Buddhist teachings, interweaving the compassionate matrix of the Womb Realm with the wisdom essence of the Vajra Realm to form a unified system of realization.^[10] Each employs distinct mudrās (hand gestures), mantras, and dhāraṇīs (protective spells) tailored to their respective realms; for instance, Vairocana's seed mantra "Oṃ a vi ra hūṃ khaṃ" invokes the transformative light of the dharmakāya in the Womb Realm.^[5] This doctrinal synthesis was historically compiled and systematized at key Indian monastic centers like Nālandā and Vikramashila, where tantric scholars integrated the texts to articulate the non-dual unity of compassion and wisdom underlying the Mandala of the Two Realms.^[11]

Development in Chinese Esoteric Buddhism

Introduction and Theoretical Evolution

Esoteric Buddhism, known in China as Zhenyan (True Word), was transmitted to the Tang dynasty in the early eighth century by Indian masters who brought key tantric texts and practices. Śubhakarasiṃha (637–735), arriving in the capital Chang'an in 716 CE, translated the Mahāvairocana Sūtra, establishing the foundational text for the Womb Realm mandala and emphasizing Vairocana Buddha as the dharmakāya embodiment.^[12] Shortly after, Vajrabodhi (671–741) reached China in 719 CE and, by 723 CE, introduced the Vajraśekhara Sūtra, which forms the basis for the Vajra Realm mandala, focusing on the wisdom aspect of enlightenment.^[12] These transmissions laid the groundwork for a distinctly Chinese esoteric tradition, distinct from earlier dhāraṇī practices. The theoretical synthesis of these sutras into the two-realms doctrine was advanced by Amoghavajra (705–774 CE), a disciple of Vajrabodhi who traveled to India for further study and returned to translate over 120 esoteric works. Amoghavajra unified the Mahāvairocana and Vajraśekhara traditions, presenting the two realms as non-dual expressions of the dharmakāya, where the Womb Realm represents compassion (karuṇā) as the originating matrix and the Vajra Realm embodies wisdom (prajñā) as its indestructible expression. This integration highlighted their interdependence, allowing practitioners to realize enlightenment through ritual visualization of both aspects simultaneously.^[13] This doctrinal framework was further systematized by Huiguo (746–805 CE), a disciple in Amoghavajra's lineage, who refined the mandala practices and prepared them for transmission to Japan.^[14] In the evolution of Chinese Mantrayana, or Zhenyan, this two-realms system incorporated concepts from the Huayan school, particularly the doctrine of interpenetration (shih-shih wu-ai), viewing the mandalas as symbolic maps of the dharmadhātu—the all-encompassing realm where phenomena mutually permeate without obstruction.^[12] A key doctrinal concept emerged: the two mandalas as complementary halves of esoteric practice, with the Womb Realm as the originating principle (ben) that generates all phenomena and the Vajra Realm as the accomplishing principle (shi) that perfects and stabilizes them.^[15] This framework adapted Indian tantric roots to Chinese philosophical contexts, emphasizing holistic realization over dualistic separation.

Early Mandala Variations

During the 8th and 9th centuries in Tang China, early forms of the two-realms mandalas exhibited notable variations as esoteric Buddhist practitioners adapted Indian prototypes to local contexts, incorporating regional deities and cosmological elements into ritual visualizations. These adaptations are evident in Dunhuang cave art, where mandalas integrated protective figures influenced by Chinese astral and indigenous traditions, reflecting a synthesis that enhanced their appeal in temple settings. Such inclusions departed from purely Indian tantric models, allowing for a more culturally resonant framework that tied esoteric doctrines to familiar protective pantheons.^[16]^[17] Differences in scale and medium further distinguished these early Chinese mandalas from their Indian origins, with depictions appearing in both intimate scroll paintings and expansive temple installations. Wall murals in sites like Mogao Caves allowed for larger, immersive layouts, while portable scrolls facilitated personal meditation; early versions often featured asymmetrical deity placements, shaped by local cosmological views that emphasized directional guardians over strict symmetry. This flexibility in arrangement accommodated ritual needs, such as aligning deities with regional directional hierarchies, contrasting the more rigid centrality of Indian designs.^[16]^[17] A prominent example from Amoghavajra's era (mid-8th century) illustrates these divergences, as his transmitted mandalas included expanded outer courts dedicated to guardian kings (lokapalas), prominently featured in 9th-century wall paintings at Mogao Cave 14 and Yulin Cave 20. These courts, surrounding core figures like Vairocanābhisambodhi, provided additional layers of protection and differed from stricter Indian prototypes by incorporating stylistic elements such as spiked crowns and swagged necklaces derived from Southern Indian Pallava influences propagated through Amoghavajra's teachings in the Hexi Corridor. This expansion emphasized defensive rituals, aligning with Tang military and protective concerns.^[17] By the 9th century, these variations evolved toward greater standardization, with the Womb Realm adopting a fixed 12-court format and the Vajra Realm a 9-assembly structure, as seen in ritual texts and surviving Dunhuang artifacts that unified the two realms doctrinally around Vairocana's enlightened mind. However, artistic expressions retained Chinese nuances, such as subtler color palettes in painted forms—employing softer earth tones and pastels—to evoke meditative calm, in contrast to the bolder, vibrant hues of Indian originals. This standardization supported theoretical unification, portraying the realms as complementary aspects of ultimate reality.^[16]^[17]

The Womb Realm Mandala

Overall Structure and Symbolism

The Womb Realm Mandala, also known as the Taizōkai Mandala, features a palace-like layout symbolizing the nurturing womb of the cosmos, which represents great compassion (mahākaruṇā) and the phenomenal aspects of reality in Esoteric Buddhism.^[1] This organic framework is organized into twelve courts, forming a square diagram of interconnected sections that depict the interdependent manifestation of enlightenment from the center outward. The structure embodies the feminine principle, emphasizing upāya (skillful means or compassion) as a nurturing, enveloping force that fosters the growth of wisdom and transforms ordinary phenomena into enlightened awareness.^[18] At the core, Mahāvairocana Buddha (Dainichi Nyorai) sits in the meditation mudra on an eight-petaled lotus throne, a gesture symbolizing the serene contemplation and union of method and wisdom, with radiating lotus petals denoting the illumination of compassion throughout the dharmadhātu (realm of phenomena).^[1] The mandala is structured as a vast central palace with four gates and surrounding courts, evoking the garbhadhātu (womb realm) that underscores the matrix of existence and the non-dual potential for buddhahood in all sentient beings.^[19] This configuration highlights the five jñānas (wisdoms)—mirror-like, equality, discriminating, all-accomplishing, and dharmadhātu—as nurturing facets of enlightenment, transforming perception into awakened compassion.^[2] The mandala's compositional unity arises from interlocking palace elements, including a central lotus integrated with square and circular motifs in the courts, signifying the inseparability of compassion and phenomenal reality in realizing buddhahood.^[1] In contrast to the Vajra Realm Mandala's masculine, geometric dynamism, the Womb Realm prioritizes this compassion-centric expanse, though the two together illustrate their complementary integration in Shingon practice.^[2]

Layout and Deity Arrangement

The Womb Realm Mandala, also known as the Garbhadhātu Mandala or Taizōkai Mandala, features a highly expansive esoteric hierarchy centered on the realization of compassionate method, with deities arranged in a symmetrical, palace-like geometric structure consisting of twelve interconnected courts that symbolize the all-nurturing nature of enlightenment.^[1] At the core is the Central Court of the Eight Petals (Chūdai Hachiyō-in), presided over by Mahāvairocana Buddha in his sambhogakāya form, embodying the unified compassion of all Buddhas, surrounded by the four wisdom Buddhas—Akṣobhya in the east, Ratnasambhava in the south, Amitābha in the west, and Amoghasiddhi in the north—each performing mudrās representing the fivefold families of compassion.^[20]^[1] Encircling this primary court are twelve secondary courts dedicated to bodhisattvas and enlightened beings, such as the Lotus-Womb Court (Rengebu-in) with Avalokiteśvara (Kannon), which expand on the central compassion through layered configurations emphasizing the interpenetration of dharmas.^[1] The mandala's directional gates are guarded by four heavenly kings (Śikṭānanda et al.), including Dhṛtarāṣṭra in the east, positioned at the cardinal points to safeguard the sacred space and embody protective aspects of compassion that subjugate obstacles; these guardians, along with their counterparts, form symmetrical groupings often depicted with attendant devas symbolizing the union of method and phenomena. In total, the arrangement encompasses 414 deities, integrating core compassionate figures with peripheral attendants to create a complete esoteric pantheon that radiates from the center.^[1] Sub-assemblies further delineate this structure, with courts like the Mañjuśrī Court (Monju-in), Ākāśagarbha Court (Kokūzō-in), and Kṣitigarbha Court (Jizō-in) representing pure lands and transcendent realms, while outer layers of devas and yakṣas denote accomplishment and protective energies, each associated with specific seed mantras such as "Oṃ" to invoke their powers during practice.^[1] This hierarchical flow progresses outward from the central realization of innate compassion, through intermediate layers of enlightened courts that unify method and insight, to the outermost protective elements that extend compassion's influence into worldly realms, ensuring the mandala's role as a dynamic map of non-dual enlightenment.^[2] The precise positioning underscores the mandala's emphasis on harmony and interdependence, where each deity's placement reinforces the womb-like essence of the garbhadhātu, facilitating the practitioner's internalization of the entire configuration.^[1]

The Vajra Realm Mandala

Overall Structure and Symbolism

The Vajra Realm Mandala, also known as the Kongōkai Mandala, features a diamond-shaped layout symbolizing the indestructible thunderbolt (vajra), which represents unbreakability and the adamantine realm of ultimate truth in Esoteric Buddhism.^[21] This geometric framework is organized into nine assemblies, forming a rectangular diagram of smaller interconnected mandalas that depict the dynamic progression of enlightenment from periphery to center.^[22] The structure embodies the masculine principle, emphasizing prajna (wisdom) as a sharp, penetrating force that cuts through illusion to reveal reality's inherent stability.^[21] At the core, Mahāvairocana Buddha sits in the wisdom-fist mudra, a gesture of clasped hands symbolizing the union of method and wisdom, with radiating vajras extending outward to denote the illumination of prajna.^[23] The mandala is structured as a central cross with four gates guarded by pronged vajras, evoking the cross-vajra (visvavajra) that underscores emptiness (shunyata) and the non-dual nature of phenomena.^[24] This configuration highlights the five jnanas—mirror-like, equality, discriminating, all-accomplishing, and dharmadhatu wisdoms—as cognitive facets of enlightenment, transforming ordinary perception into awakened insight.^[22] The mandala's compositional unity arises from interlocking geometric elements, including a central cross of vajras integrated with circular and triangular motifs at the core, signifying the inseparability of upaya (method) and prajna in realizing buddhahood.^[25] In contrast to the Womb Realm Mandala's feminine, nurturing expanse, the Vajra Realm prioritizes this wisdom-centric dynamism, though the two together illustrate their complementary integration in Shingon practice.^[21]

Layout and Deity Arrangement

The Vajra Realm Mandala, also known as the Diamond Realm Mandala or Vajradhatu Mandala, features a highly condensed esoteric hierarchy centered on the realization of indestructible wisdom, with deities arranged in a symmetrical, diamond-shaped geometric structure consisting of concentric squares and circles that symbolize the unyielding nature of enlightenment.^[25] At the core is the central assembly, presided over by Vajrasattva (or Vairocana in his four-faced, eight-armed sambhogakaya form), embodying the unified wisdom of all Buddhas, surrounded by the four wisdom Buddhas—Akshobhya in the east, Ratnasambhava in the south, Amitabha in the west, and Amoghasiddhi in the north—each performing the vajra mudra to represent the fivefold wisdom families.^[25]^[1] Encircling this primary court are eight secondary assemblies dedicated to jnanabuddhas, such as Divyadundubhimeghanirghosha, which expand on the central wisdom through layered configurations of bodhisattvas and enlightened beings, emphasizing the interpenetration of dharmas.^[1] The mandala's directional gates are guarded by four vajra-bearing protectors, including Vajrakrodha in the east, positioned at the cardinal points to safeguard the sacred space and embody wrathful aspects of wisdom that subjugate obstacles; these guardians, along with their counterparts in the other directions, form symmetrical pairings often depicted as male-female dyads symbolizing the union of method and wisdom.^[25] In total, the arrangement encompasses 37 deities, integrating core wisdom figures with peripheral attendants to create a complete esoteric pantheon that radiates from the center.^[1] Sub-assemblies further delineate this structure, with the Buddha summit at the top representing pure lands and transcendent realms, while circles of vajra youths in the outer layers denote accomplishment and protective energies, each associated with specific seed mantras such as "Oṃ vajra śrīḥ" to invoke their powers during practice.^[1] This hierarchical flow progresses outward from the central realization of innate wisdom, through intermediate layers of enlightened assemblies that unify compassion and insight, to the outermost protective elements that extend wisdom's influence into worldly realms, ensuring the mandala's role as a dynamic map of non-dual enlightenment.^[25] The precise positioning underscores the mandala's emphasis on symmetry and interdependence, where each deity's placement reinforces the indestructible essence of the vajra, facilitating the practitioner's internalization of the entire configuration.^[1]

Practices and Rituals

Meditation and Visualization Techniques

In esoteric Buddhist practice, the deity yoga process begins with the practitioner visualizing entry into the mandala through its symbolic gates, often guarded by directional deities, to symbolically traverse the structured cosmos represented by the diagram.^[26] This visualization fosters a progressive identification with the central deity Vairocana, achieved by mentally reciting and emanating the appropriate seed syllable (bīja), such as "a" for the Womb Realm or "vaṃ" for the Vajra Realm, which radiates light to populate the mandala with attendant deities.^[26]^[27] Through sustained focus, the practitioner dissolves the distinction between self and deity, embodying Vairocana's enlightened qualities to realize non-dual awareness.^[28] The integration of the two realms in meditation proceeds sequentially to harmonize compassion and wisdom, culminating in the direct experience of the dharmakāya.^[26] In the Womb Realm practice, the meditator generates boundless compassion by cultivating the four immeasurables—loving-kindness, compassion, sympathetic joy, and equanimity—visualizing the mandala's nurturing, lotus-like structure as enveloping all beings in protective light.^[26] This shifts to the Vajra Realm, where the focus turns to realizing wisdom through contemplation of the four noble truths—suffering, origin, cessation, and path—via the mandala's indestructible, diamond-like symmetry, purifying obscurations and awakening insight into reality's empty nature.^[26] The practices unite as the two mandalas overlay in the mind, symbolizing the inseparability of method and wisdom, leading to the practitioner's innate buddhahood.^[28] Techniques drawn from foundational sutras emphasize the activation of the subtle body through synchronized actions, aligning the practitioner with the mandala's axes.^[5] In the Mahāvairocana Sūtra, associated with the Womb Realm, mudrās such as the teaching gesture (dharmacakramudrā) and mantras like "oṃ" are employed to invoke compassionate energies, while breath control—inhaling to gather vital winds at the heart center—directs prāṇa along the central channel to awaken associated chakras.^[5] The Vajraśekhara Sūtra, governing the Vajra Realm, incorporates the vajra-fist mudrā (vajramuṣṭi) alongside seed-syllable mantras such as "hūṃ" to channel wisdom's piercing clarity, with exhalations dispersing delusions and realigning the body's subtle winds to the mandala's vertical and horizontal axes for energetic equilibrium.^[26] These elements—mudrā for body, mantra for speech, and visualization for mind—form the three secrets, interpenetrating to transform ordinary perception into enlightened activity.^[28] The meditative stages progress from gross to subtle levels, emphasizing the mandala's role in cultivating emptiness.^[26] Initially, gross visualization constructs the external mandala in detail, populating it with deities via seed syllables and light rays to stabilize concentration and generate merit.^[5] Intermediate stages refine this into internal visualization, where the mandala arises within the body at key points like the heart chakra, integrating personal experience with cosmic order.^[26] The practice culminates in subtle dissolution, where the visualized forms merge into luminous emptiness (prabhāsvaratā), revealing the mandala's ultimate nature as non-dual and devoid of inherent existence, thus actualizing the dharmakāya.^[26]

Initiation Ceremonies and Integration of Realms

The abhisheka rituals associated with the Mandala of the Two Realms serve as the primary initiation ceremonies in Esoteric Buddhist practice, empowering practitioners to access the symbolic structures of the Womb and Vajra Realms for spiritual transformation. These ceremonies originated in Indian tantric texts such as the Mahāvairocana Tantra, where they were developed as consecration rites to transmit esoteric teachings, and were later standardized in the Chinese Zhenyan tradition through the efforts of Indian masters like Śubhakarasiṃha and Amoghavajra, who translated and systematized the rituals during the Tang dynasty.^[29] The rituals emphasize the practitioner's entry into the mandala as a sacred space, preparing them for the integration of compassion and wisdom. The abhisheka unfolds in four progressive stages, each aligned with aspects of the two realms to build the practitioner's capacity for enlightenment. The first stage, the water initiation, focuses on purification linked to the Womb Realm, where the practitioner is sprinkled with consecrated water to cleanse karmic defilements and establish a foundation of compassionate method (upāya). The second stage, the crown initiation, involves anointing the head with substances symbolizing the Vajra Realm's wisdom (prajñā), awakening insight into the indestructible nature of reality. The third stage, the vajra initiation, represents the union of the two realms, with the practitioner receiving a vajra implement to embody the non-dual integration of method and wisdom. The fourth stage, the name initiation, confers a secret esoteric name, fully empowering the practitioner as a vajracārya capable of guiding others in tantric practice. Central to these ceremonies is the integration ritual known as the two realms contemplation, in which the practitioner visualizes an overlay of the Womb and Vajra mandalas, symbolizing the non-duality of upāya and prajñā as the unified essence of Buddhahood. This visualization briefly builds on preparatory meditation techniques but is enacted within the ceremonial context to actualize empowerment. Ceremonial elements include the temporary construction of the mandala using colored sands, painted diagrams, or ritual enclosures to invoke the deities, followed by the recitation of vows committing the practitioner to secrecy and ethical conduct; these practices trace their roots to Indian homa and mandala rites but achieved their structured form in Zhenyan transmissions.^[29] Upon completion, the abhisheka yields outcomes such as the attainment of siddhis, or spiritual powers like clairvoyance and influence over elements, which support the practitioner's path to buddhahood, alongside the conferral of bodhisattva precepts emphasizing compassion and wisdom in action. The unified mandala, representing the merged realms, functions as a ongoing vow support, reminding the initiate of their commitment to non-dual realization and ethical discipline throughout their practice.

Transmission to Japan

Role in Shingon Buddhism

The Mandala of the Two Realms, consisting of the Womb Realm (Taizōkai) and Diamond Realm (Kongōkai) mandalas, was transmitted to Japan by the monk Kūkai during his studies in Tang China from 804 to 806 CE, where he received initiation into these esoteric diagrams from the master Hui-kuo at Qinglong Temple in Chang'an. Upon his return, Kūkai established the mandalas as the foundational visual representations of Shingon Buddhism's cosmology, embodying the unified teachings of the Mahāvairocana Sūtra and Vajraśekhara Sūtra. Mount Kōya (Kōyasan), founded by Kūkai in 816 CE as the sect's headquarters, serves as the primary site for their installation and veneration, with the Danjō Garan temple complex architecturally mirroring the Womb Realm mandala and the Konpon Daitō pagoda housing a three-dimensional depiction of its structure.^[21]^[30]^[31] In Shingon doctrine, the two mandalas represent complementary aspects of Dainichi Nyorai (Vairocana Buddha), the cosmic dharmakāya, with the Womb Realm symbolizing the compassionate, nurturing origin of phenomena and the Diamond Realm embodying unyielding wisdom and enlightenment. They form the core of the practice of sokushin jōbutsu (attaining Buddhahood in this very body), where practitioners realize non-dual unity with Vairocana through the "three mysteries" (samitsu): body (mudrā or hand gestures), speech (mantra or sacred incantations), and mind (mandala visualization). This integration allows the adept's ordinary activities to align with the Buddha's cosmic functions, achieving immediate enlightenment without reliance on rebirth or gradual cultivation, as systematized in Kūkai's Sokushinjōbutsugi (On Attaining Buddhahood in This Body).^[21]^[28]^[32] Practically, the mandalas are employed in Shingon rituals such as the annual goma (homa) fire ceremonies, where priests perform offerings into consecrated flames while engaging in mandala visualization to purify defilements and invoke divine empowerment (kaji). During these rites, gazing upon or mentally reconstructing the mandalas synchronizes the three mysteries, transforming the ritual space into a microcosm of the enlightened realm. Standardized Japanese paintings of the mandalas, emerging in the Heian period, facilitated this; for instance, 12th-century examples on silk or paper, often rendered with vivid mineral pigments like malachite and cinnabar for deities and gold leaf for seed syllables, were produced for temple altars and initiations, emphasizing their role as dynamic tools for contemplation rather than static icons.^[33]^[34]^[35] A distinctive Shingon interpretation views the mandalas as a "lettered world" (shōjijissō, akin to mojisho), where Sanskrit seed syllables (bīja, written in Siddhaṃ script) constitute the fundamental elements of the cosmos, manifesting as the dharmakāya's expressive signs and sounds. In this schema, outlined in Kūkai's Shōjijissōgi (On the Ten Aspects of Realizing the Real Nature of All dharmas through Sounds and Letters), the universe unfolds as a vast scriptural text, with each syllable embodying a deity or principle, enabling practitioners to decode reality through ritual recitation and visualization.^[21]^[36]

Adaptations in Tendai Esotericism

The transmission of the Mandala of the Two Realms to Japan occurred through the efforts of Ennin (794–864 CE), who studied in China from 838 to 847 CE and introduced esoteric elements to Tendai Buddhism alongside Saichō's (767–822 CE) foundational teachings.^[37] Ennin's journey brought back texts and practices emphasizing "perfect" esotericism (tōmitsu), which integrated the mandalas into Tendai's exoteric framework centered on the Lotus Sutra, viewing the mandalas as visual aids for realizing the nonduality of Śākyamuni and Mahāvairocana as identical Dharma bodies.^[37] In Tendai adaptations, the mandalas were aligned with the school's three-fold truth—emptiness, provisional existence, and the middle way—derived from Tiantai philosophy. The Womb Realm Mandala, symbolizing compassion and the phenomenal world, served as a visualization tool for the shakumon (trace teachings) of the Lotus Sutra, representing provisional reality, while the Vajra Realm Mandala, embodying wisdom and ultimate emptiness, corresponded to the honmon (essential teachings), illustrating the middle path of nonduality.^[37] This syncretic approach, systematized by Annen (c. 841–915 CE), reconciled esoteric cosmology with Mahayana doctrines, allowing practitioners to contemplate the mandalas as expressions of original enlightenment (hongaku) inherent in all beings.^[37] Ritual variations in Tendai incorporated the mandalas into practices like the constant walking meditation (jōgyō zanmai), one of the four samadhis, performed at Enryakuji Temple on Mount Hiei, where the mandalas functioned as focal points on altars during circumambulation around icons such as Amitābha Buddha.^[37] Unlike the more secretive initiations in other traditions, Tendai rituals emphasized open integration with Lotus Sutra recitation and shikan (calm-contemplation) meditation, fostering accessibility and blending esoteric visualization with everyday devotional activities.^[37] From the 10th to 12th centuries, Tendai esotericism expanded through commentaries that linked the two realms to the four samadhis—always sitting, always walking (jōgyō zanmai), half walking and half sitting, and neither walking nor sitting—adapting Ennin's transmissions to emphasize joy in the Dharma and nondual repentance.^[37] Figures like Genshin (942–1017 CE) and later monks such as Sensai (d. 1135 CE) and Chōken (1126–1203 CE) developed these ideas, incorporating mandala-inspired liturgies into court rituals, waka poetry, and Pure Land assemblies like the Nijūgo Zanmai-e (985 CE), which harmonized the realms with Tendai's inclusive soteriology.^[37] This period marked a shift toward broader cultural permeation, with mandalas influencing kami-Buddha syncretism and female salvation practices, distinguishing Tendai's syncretic depth from more specialized esoteric lineages.^[37]

References

[1]
Guide to Japan's Ryokai (Two Worlds) Mandala - Onmark Productions
Quick Guide to Japan's Ryokai (Two-World) Mandala, Its Layout, Its Deities. Japanese Esoteric Buddhism.
[2]
Mandala of the Two Realms - KoyaQuest
A mandala is a schematic representation of the Buddhist cosmos. While three-dimensional versions exist, they are typically two-dimensional diagrams.
[3]
Mandala of Both Worlds: Womb World - Japan
This mandala is one of a pair of mandalas that forms a Mandala of Both Worlds, a representation of the Buddhist cosmos as explained in two sacred esoteric texts ...
[4]
Shrine with Mandalas of the Two Worlds (Ryōkai Mandara)
The realms of esoteric Buddhism (mikkyō) are illuminated in the mandalas of the Diamond World (Skt. Vajradhātu; J. Kongōkai) and the Womb World.
[5]
[PDF] The Vairocanabhisambodhi Sutra
Aug 7, 1991 · The Vairocanābhisaṃbodhi-sūtra was a seminal work in the history of Tantric. Buddhism, offering one of the first fully developed expositions ...
[6]
[PDF] The Cakrasamvara Tantra: Its History, Interpretation, and Practice in ...
Abstract. This essay explores the history of the Cakrasamvara Tantra and its related practice traditions. Beginning with the traditional Cakrasamvara origin ...
[7]
Religions | Project Himalayan Art - Rubin Museum
Vajrayana ritual and art are characterized by visualization, deity yoga, wrathful deities, mandalas, mantras, initiations and empowerments (abhisheka), and ...
[8]
Glossary | Project Himalayan Art - Rubin Museum
An abhisheka is a consecration or anointment ritual. In Vajrayana Buddhism, abhisheka rituals are performed to initiate practitioners into the practices ...
[9]
On the Chinese Translation and Commentary of the Mahāvairocana ...
The Mahāvairocana sūtra was translated into Chinese by the Indian monk Śubhakarasiṃha 善無畏 (637–735) and the Chinese monk Yixing 一行 (683–727), and ...
[10]
"Mandala, Mandala on the Wall: Variations of Usage in Shingon ...
The paper explores the Shingon tradition of esoteric Buddhism, particularly in the context of Koyasan, Japan. It examines the historical significance of ...
[11]
[PDF] The Iconography of Nepalese Buddhism - BuddhaNet
e Vajrayana form of Buddhism was fully developed in India at Nalanda and. Vikramashila monasteries and it was fully dissiminated in Nepal and Tibet. People ...
[12]
[PDF] East Asian Buddhism - CCU Digital Commons
Nov 23, 2015 · Zhenyan was transmitted to China by the Indian master Ś ubhakarasi ṃ ha in 716 and again by Vajrabodhi (671–741) and his disciple Amoghavajra ( ...
[13]
Seeing Chen-Yen Buddhism: Traditional Scholarship and the ...
The pure Dharmadhatu is without stain. .. .' One then visualizes this ... esoteric Buddhism, particularly the Garbhakosadhdtu mandala largely derived ...
[14]
Liang bu, Liǎng bù: 4 definitions
Jul 21, 2025 · It can be seen that both the Womb Realm gate and the Vajra Realm ... yi hou shi zhi shi zhe, yu qiang shi liang jie yi zhi, fu hui er ...
[15]
(2013) “Changing Conceptions of “Maṇḍala” in Tang China: Ritual and the Role of Images.” Material Religion 9.2: 186-217
### Summary of Early Variations of Mandalas in Tang China (Esoteric Buddhism)
[16]
Uncovering Amoghavajra's legacy in the Hexi Corridor and Tibet
This research analyses the images from Mogao and Yulin caves, which have been traditionally ascribed to Tibetan influence and believed to represent the ...
[17]
Kūkai - Stanford Encyclopedia of Philosophy
Oct 3, 2006 · ... Zhenyan ... In the esoteric tradition that Kūkai inherited from Hui-kuo, there are two major mandalas that depict the hosshin in two different ...
[18]
Great Mandala - Shingon Buddhist Intl. Institute: Teachings
The Mandalas represent, first of all, harmony and order; secondly, offerings and a focus point; and thirdly, wisdom and compassion.Missing: Realm structure symbolism
[19]
Diamond Realm mandala | Dictionary of Buddhism
The Diamond Realm mandala is composed of nine square sections or assemblies; in these squares Mahāvairochana and other Buddhas, bodhisattvas, and gods are ...Missing: structure | Show results with:structure
[20]
Vajradhatu (Diamond Realm) Mandala - Central Tibet
Pronged vajra gateways stand at the four directions and, as they cross under the central image of Vairochana, mark a point of perfect stability. In the top ...Missing: shape structure gates emptiness shunyata
[21]
- Mandala of Vajradhatu - Asian Arts
Nine encircled deities are arranged in three registers within the mandala's primary court (kutagara). In the center is Vairochana, one pair of hands at his ...Missing: 146 | Show results with:146
[22]
Jiu hui zun shu lue song, Jiǔ huì zūn shù lüè sòng: 1 definition
Jul 7, 2025 · Total: 1461. These are named the Vajra-realm Mandala (金剛現圖 [jin gang xian tu]) deities. Perfectly interpenetrating and mutually identical in ...
[23]
[PDF] SHINGON TEXTS
Aug 7, 1991 · Ever since the Buddha's Great Demise over twenty-five hundred years ago, his message of wisdom and compassion has spread through- out the world.
[24]
Shingon
**Summary of Vajra Realm Mandala (Kongōkai) Structure and Symbolism:**
[25]
The Weaving of Mantra | Columbia University Press
30-day returnsThe Weaving of Mantra embeds Kûkai within the fabric of political and social life in ninth-century Japan and explains how esoteric Buddhism played a crucial ...Missing: PDF | Show results with:PDF
[26]
Kūkai in China, What He Studied and Brought Back to Japan
For introducing Shingon esoteric Buddhism into his country in the early Heian period (794–1184), the emperor awarded him the posthumous title Kōbō Daishi, ...
[27]
Places of interest | Koyasan Shingon Sect Main Temple Kongobu-ji
The Danjo Garan is said to express the world depicted in the Womb Realm Mandala. If we take Kongobuji as the totality and focus of Mount Koya, the Danjo ...
[28]
[PDF] Shingon Mikkyō's Twofold Maṇḍala: Paradoxes and Integration
Literally the term means "the realization of buddhahood in the present body." The sokushin- jobutsu theory is described in full in Kukai's Sokushin-jobutsu-gi*.
[29]
https://cup.columbia.edu/book/the-weaving-of-mantra/9780231112871/
[30]
[PDF] Thinking through Shingon Ritual
Like all Shidokegyo rites, the Goma ritual is built around the eighteen methods of the juhachido. ... 2001b “Visualization and Mandala in Shingon Buddhism.” In ...
[31]
Scroll of Deities of the Diamond World Mandala - Japan
This iconographic handscroll features representations of the thirty-seven principal Buddhist deities from the Diamond World Mandala, along with auxiliary ...
[32]
[PDF] 1 Sanskrit Beyond Text: The Use of Bonji (Siddham) in Mandala and ...
Sep 13, 2012 · bonmon mandara (梵文曼荼羅, Sanskrit character mandala), are executed in black ink on paper. The Sanskrit letters are mantric seed-syllables.Missing: Mojisho | Show results with:Mojisho
[33]
[PDF] The Joy of the Dharma: Esoteric Buddhism and the Early Medieval ...
threefold system of mandala in Tendai esotericism, see Hunter, “Faquan's Transmission.” Page 72. 62 fundamental transformation in both the theory and ...