Mañjuśrī is a bodhisattva associated with prajñā in Mahāyāna Buddhism. In Tibetan Buddhism, he is also a yidam. His name means "Gentle Glory" in Sanskrit. Mañjuśrī is also known by the fuller name of Mañjuśrīkumārabhūta, literally "Mañjuśrī, Still a Youth" or, less literally, "Prince Mañjuśrī". Another deity by the name of Mañjuśrī is Mañjughoṣa.
In Mahāyāna Buddhism
Scholars have identified Mañjuśrī as the oldest and most significant bodhisattva in Mahāyāna literature. Mañjuśrī is first referred to in early Mahāyāna sūtras such as the Prajñāpāramitāsūtras and through this association, very early in the tradition he came to symbolize the embodiment of prajñā. The Lotus Sutra assigns him a pure land called Vimala, which according to the Avatamsaka Sutra is located in the East. His pure land is predicted to be one of the two best pure lands in all of existence in all the past, present, and future. When he attains buddhahood his name will be Universal Sight. In the Lotus Sūtra, Mañjuśrī also leads the Nagaraja's daughter to enlightenment. He also figures in the Vimalakīrti Sūtra in a debate with Vimalakīrti where he is presented as an Arhat who represents the wisdom of the Hīnayāna. An example of a wisdom teaching of Mañjuśrī can be found in the Saptaśatikā Prajñāpāramitā Sūtra. This sūtra contains a dialogue between Mañjuśrī and the Buddha on the One Samādhi. Sheng-yen renders the following teaching of Mañjuśrī, for entering samādhi naturally through transcendent wisdom:
Within Vajrayāna Buddhism, Mañjuśrī is a meditational deity and considered a fully enlightened Buddha. In Shingon Buddhism, he is one of the Thirteen Buddhas to whom disciples devote themselves. He figures extensively in many esoteric texts such as the Mañjuśrīmūlakalpa and the Mañjuśrīnāmasamgīti. His consort in some traditions is Saraswati. The Mañjuśrīmūlakalpa, which later came to classified under Kriyātantra, states that mantras taught in the Śaiva, Garuḍa, and Vaiṣṇavatantras will be effective if applied by Buddhists since they were all taught originally by Mañjuśrī.
Iconography
Mañjuśrī is depicted as a male bodhisattva wielding a flaming sword in his right hand, representing the realization of transcendent wisdom which cuts down ignorance and duality. The scripture supported by the padma held in his left hand is a Prajñāpāramitā sūtra, representing his attainment of ultimate realization from the blossoming of wisdom. Mañjuśrī is often depicted as riding on a blue lion or sitting on the skin of a lion. This represents the use of wisdom to tame the mind, which is compared to riding or subduing a ferocious lion. In Chinese and Japanese Buddhist art, Mañjuśrī's sword is sometimes replaced with a ruyi scepter, especially in representations of his Vimalakirti Sutra discussion with the layman Vimalakirti. According to Berthold Laufer, the first Chinese representation of a ruyi was in an 8th-century Mañjuśrī painting by Wu Daozi, showing it held in his right hand taking the place of the usual sword. In subsequent Chinese and Japanese paintings of Buddhas, a ruyi was occasionally represented as a Padma with a long stem curved like a ruyi. He is one of the Four Great Bodhisattvas of Chinese Buddhism, the other three being Kṣitigarbha, Avalokiteśvara, and Samantabhadra. In China, he is often paired with Samantabhadra. In Tibetan Buddhism, Mañjuśrī is sometimes depicted in a trinity with Avalokiteśvara and Vajrapāṇi.
Mantras
A mantra commonly associated with Mañjuśrī is the following: The Arapacana is a syllabaryconsisting of forty-two letters, and is named after the first five letters: a, ra, pa, ca, na. This syllabary was most widely used for the Gāndhārī language with the Kharoṣṭhī script but also appears in some Sanskrit texts. The syllabary features in Mahāyāna texts such as the longer Prajñāpāramitā texts, the Gaṇḍavyūha Sūtra, the Lalitavistara Sūtra, the Avataṃsaka Sūtra, the DharmaguptakaVinaya, and the Mūlasarvāstivāda Vinaya. In some of these texts, the Arapacana syllabary serves as a mnemonic for important Mahāyāna concepts. Due to its association with him, Arapacana may even serve as an alternate name for Mañjuśrī. The Sutra on Perfect Wisdom defines the significance of each syllable thus:
A is a door to the insight that all dharmas are unproduced from the very beginning.
RA is a door to the insight that all dharmas are without dirt.
PA is a door to the insight that all dharmas have been expounded in the ultimate sense.
CA is a door to the insight that the decrease or rebirth of any dharma cannot be apprehended, because all dharmas do not decrease, nor are they reborn.
NA is a door to the insight that the names of all dharmas have vanished; the essential nature behind names cannot be gained or lost.
Tibetan pronunciation is slightly different and so the Tibetan characters read: . In Tibetan tradition, this mantra is believed to enhance wisdom and improve one's skills in debating, memory, writing, and other literary abilities. "" is the seed syllable of the mantra and is chanted with greater emphasis and also repeated a number of times as a decrescendo.
In Buddhist cultures
In China
Mañjuśrī is known in China as Wenshu. Mount Wutai in Shanxi, one of the four Sacred Mountains of China, is considered by Chinese Buddhists to be his bodhimaṇḍa. He was said to bestow spectacular visionary experiences to those on selected mountain peaks and caves there. In Mount Wutai's Foguang Temple, the Manjusri Hall to the right of its main hall was recognized to have been built in 1137 during the Jin dynasty. The hall was thoroughly studied, mapped and first photographed by early twentieth-century Chinese architects Liang Sicheng and Lin Huiyin. These made it a popular place of pilgrimage, but patriarchs including Linji Yixuan and Yunmen Wenyan declared the mountain off limits. Mount Wutai was also associated with the East Mountain Teaching. Mañjuśrī has been associated with Mount Wutai since ancient times. Paul Williams writes: According to official histories from the Qing dynasty, Nurhaci, a military leader of the Jurchens of Northeast China and founder of what became the Qing dynasty, named his tribe after Mañjuśrī as the Manchus. The true origin of the name Manchu is disputed. Monk Hanshan is widely considered to be a metaphorical manifestation of Mañjuśrī. He is known for having co-written the following famous poem about reincarnation with monk Shide: Drumming your grandpa in the shrine, Cooking your aunts in the pot, Marrying your grandma in the past, Should I laugh or not? 堂上打鼓打公皮， 鍋內煎煮是姑娘， 三世祖母娶為婦， 我今不笑等何時。
In Tibet
In Tibetan Buddhism, Mañjuśrī manifests in a number of different Tantric forms. Yamāntaka is the wrathful manifestation of Mañjuśrī, popular within the Gelug school of Tibetan Buddhism. Other variations upon his traditional form as Mañjuśrī include Namasangiti, Arapacana Manjushri, etc.
In Nepal
According to Swayambhu Purana, the Kathmandu Valley was once a lake. It is believed that Mañjuśrī came on a pilgrimage from his earthly abode-Wutaishan in China. He saw a lotus flower in the center of the lake, which emitted brilliant radiance. He cut a gorge at Chovar with his flaming sword to allow the lake to drain. The place where the lotus flower settled became the great SwayambhunathStupa and the valley thus became habitable.
In Indonesia
In eighth centuryJava during the Medang Kingdom, Mañjuśrī was a prominent deity revered by the Sailendra dynasty, patrons of Mahayana Buddhism. The Kelurak inscription and Manjusrigrha inscription mentioned about the construction of a grand Prasada named Vajrāsana Mañjuśrīgṛha identified today as Sewu temple, located just 800 meters north of the Prambanan. Sewu is the second largest Buddhist temple in Central Java after Borobudur. The depiction of Mañjuśrī in Sailendra art is similar to those of the Pala Empire style of Nalanda, Bihar. Mañjuśrī was portrayed as a youthful handsome man with the palm of his hands tattooed with the image of a flower. His right hand is facing down with an open palm while his left-hand holds an utpala. He also uses the necklace made of tiger canine teeth.
In other traditions
In Hindu tradition, Majushri has been depicted as emanation of Shiva.
