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Firmly Rooted: on Fudo Myoo's Origins by Richard K

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Firmly Rooted: on Fudo Myoo's Origins by Richard K Firmly Rooted: On Fudo Myoo's Origins by Richard K. Payne n examination of the introduction of Fudll King Camatk4ra perfonned tapas and, when A MyC/l into Buddhist Tantra can help to §iva appeared to him, begged him to be clarify important aspects of the early history of present foreverin the holy site. The god said BuddhistTantra. Fudll is often associated with the he would remain, immovable, in that place. Indian deity §iva, and in the following I speculate ... The king set up a JiJ!ga, and a voice from on the significance of this connection both in tenns heaven announced: "I will dwell eternally in of the Indo-European background of Indian relig­ this JiJ!ga; even its shadow will never ion, and in tenns ofFudG's introduction into Tan­ move." So it happened: the shadow of the tric Buddhism. This inquiry will hopefully provide AcaleSvara-JiJ!ga is ever stationary. Only he a deeper understanding ofFudo as a religious sym­ who is to die within six months is unable to bol, while at the same time begin to sketch in some perceive this marveL' of the historical significance of his entry into the Shulman comments that "Even the shadow of the Tantric Buddhist pantheon.' god is frozen in place, while the miracle is made FudO's Sanskrit name is "Acala(n4tha) secure by terror-he who doubts it will die!'~ Vidyru-aja. ll The first pan, "Acala," means uim~ This local tale connects with the widespread movable" and is represented by the Japanese motif of Siva as SLh3J)u, the unmoving pillar. "FudO." The second part. llnatba," which is used in Brahman, the creator god of Indian mythology, some references and not in others. means "lord," desired to create mortals, but was unable to do so. particularl y in the sense of a person to whom one Brahman then directed Rudra (an older name for goes when seeking refuge. The third part, "Vidy4," Siva') to create mortals for him. However, as means "wisdom," while the fourth part, "raja," Kramrisch expresses it, Rudra "is the prototypal means "king.'~ His full name can be rendered ascetic, and would not think of camaI progeny. He variously into English, but "Lord Immovable, the is also Siva, the compassionate god, who wants to King of Wisdom" is the fonn I fmd most eupho­ nious.] prevent the imperfections and suffering of the human condition." So Rudra refuses to create "Acalanatha" is often explained as being an mortals and "the world thus was at a standstill:~ epithet of the great Indian deity Siva.' Indeed, it is The unmoving, unchanging pillar is the erect phal­ suggestively similar to the epithet "Acalesvara" lus of §iva retaining the semen which would oLh­ given to Siva in a temple located in the south Indian erwise create suffering mortals: city of Tiruvarur. "Acalesvara" is composed of "aca)a" (again immovable) and IIi§vara," another In his pillar shape Rudra restores the un­ tenn which can be translated by "lord." In his spent wholeness of the Uncreate. His seed Tamil Temple Myths, Shulman cites the following and his breath are held. The fire seed of story in explanation of Siva's epithet creation and the breath oflife are held within "AcaleSvara": his motionless shape.' 6 The Indo-European background of Indian val development of Tantra in India, this image of religion suggests that there are links between this Siva "still as a piUar, his organ of procreation itself eternally ithyphallic yogi and the ithyphallic dei­ motionless and pointing upward as a sign of the ties of Greece and Rome, such as Hermes. Hermes semen drawn upward, contained, consumed or often appears as a pillar known as a "herm". This transubstantiated within the body"" may well have is itself an ithyphallic form concerning which Karl served as a model for the Hindu Tantric practices Ken!nyi says "In the Herms the masculine aspect of semen retention while in sexual union. Again, of the life-source does not appear as blossoming in the ambiguity of asceticism and eroticism: "The the child, nor as unfolding in the classical Hermes yogi causes his seed to rise to his head, where it image; it appears rather as congealed in its ker­ becomes Soma."" The denial of sexual pleasure in nel."" As pointed out by 0 'Flaheny, however, this the form of release, leads to the attainment of a tension is ambiguous: higher, spiritual form of pleasure. O'Plaheny notes, however, that seminal retention "may be The yogi here gathers up his creative pow­ considered a manifestation of yogic chastity, but ers, retaining the promise of procreation in Siva'sraised Jings is symbolic of the power to spiU the form of the erect phallus, the embodi­ the seed as well as to retain it."" Thus, while the ment of creative tapas. The raised Jingais the symbolism of Siva as the eternally ithyphallic plastic expression of the belief that love and pillar may have contributed to the development of death, ecstasy and asceticism, arc basically Hindu Tantric practices, it would be a mistake to related." read those practices back onto the myths of Siva. The yogi's retention of his creative power Examining this single epithet of Siva as the works to heighten his creative potential. Existing Immovable Lord, symbolized concretely by the between life and death, Siva as the unmoving cult of the Imga, and resting on the mythic concept phallic pillar may be described as liminal, in the of Siva as withholding his creative energies, opens sense that term is used by Turner. Although not a wide range of symbolic meaning behind the liminal in exactly the same ways, Hermes is also figure of Pudl!. Epithets alone, though, are not a liminal, ambiguous figure. His connection with enough to establish a connection between Pudl! journeys and boundaries, his function as guide to and Siva. In addition, however, there are iconogra­ the souls of the dead, and his role as messenger of phic links between the two deities. the gods all exemplify the liminal quality of Her- Siva has a very complex iconography result­ meso ing from his wide popularity and long history in Similarities between the cultic practices Indian religion. Three aspects of that iconography associated with Siva's Jings and cultic practices in particular are shared with Pudl!. The first is the directed to the Herm also link the eternally ithy­ serpent According to Danielou, the snake is sym­ phallic yogi with the ithyphallic Hermes. Discuss­ bolic here of "the basic dormant energy, akin to the ing the Minoan background to Greek religion, sexual power, which is coiled at the base of the Burken mentions the use of stone pillars to mark spinal cord.... called KUQ4a1inl (the coiled), the the sacred center and comments that "the Odyssey serpent power."" Siva's phallus, the Jillga, is in describes the stone glistening with oil."" The Ji/lgB some cases ponrayed as being encoiled by a snake. of Siva is also worshipped with offerings of water, While Pudl! is not ponrayed as ithyphallic, he is milk and oil, which are poured onto the lillga often ponrayed holding a sword-which may be itself." interpreted as having the same symbolic signifi­ Moving forward in time from the Indo-Eu­ cance as an erect phallus-around which is coiled ropean background ofIndian religion of the medie- a snake or dragon. 7 The second iconographic aspect of Siva of the yogi must be constantly readjusted with the which links him with Fudo is the snare which they microcosm of his body:'" The imagery of FudO both carry. In Sanskrit this is known as p{ga and is displays the same balance. Immovably seated on often translated as Iinoose" or "lasso".11 In the case Mt. Meru, Fudo is surrounded by the "garuda­ ofFud6, this is oflen shown as a length of rope with headed'''' flames produced by his concentrative a metal ring on one end and a weight on the other. absorption, samlldhi. The weight is passed through the ring to form a Epithets and imagery both serve to link the loop. Tossed over one who is auempting to flee Tantric Buddhist figure ofFud6 to the Indian deity from the frightening appearance of FudO, the Siva. While further research may add to ourknowl­ noose would pull tight" The snare may point to edge of the details of the link between Fud6 and pre-Vedic, indigenous lndic religious influences Siva, the concept of yogic immobility as the reten­ on the figure of S iva, since a cursory survey fails tion of creative energies which produces a purify­ to reveal any use of this weapon by Greek deities. ing fire conducive to insight cenainly seems to The third, and perhaps most suggestive, of have been the significant content which was being the three iconographic links between Siva and borrowed from the figure of Siva and introduced Fud6 is fire. Fud6 is described-and usually pic­ into Buddhist Tantra in the figure of Fud6 MyOO. tured-as residing in ''"The Fire Producing Sam~dhi."'· This is represented in paintings, draw­ Ft.JDO IN THE BUDDIDST LITERATURE ings and statues of Fudo as a aura of flames which surround his body. The flames are understood as According to Sawa Takaaki: burning away all of one's delusions, klc§as, thus The first mention of FudO is made in the purifying one's consciousness and revealing in­ Fukukcnjaku-kyo, where he is described as nate enlightenment In the Shingon fire sacrifice, a messenger of the Buddhas. He does not the practitioner visualizes Fudo: "His entire body receive the designation ofMyc>-o, or King of emits flames, burning away every kind of obscu­ Light (sic), until his appearance in the Dain­ ration and affliction of oneself and others through­ ichi-kyo.
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