Guānzìzài púsà Āmógài fǎ 觀自在菩薩阿麼𪘨法
Method of Avalokiteśvara’s Abhayā-Vipula Practice (alternative interlinear gloss: 此云無畏又云寬廣 “in our language: ‘Fearless’ or ‘Vast and Broad’”) (translator: anonymous)
About the work
A short one-fascicle Tang Esoteric fǎ (法, “method”) on a particular Avalokiteśvara practice form denoted by the Sanskrit-transliterated 阿麼𪘨 (Āmógài) — the interlinear gloss in the title gives the meaning as either Wúwèi 無畏 (“Fearless” = Abhaya) or Kuānguǎng 寬廣 (“Vast-and-Broad” = Vipula), suggesting the Indic term abhaya-vipula or possibly amogha-vipula. The text is unattributed in the canonical witnesses but its kriyā-tantra register and its connection to the Khotan tradition (mentioned in the opening narrative) suggest a Tang-period transmission.
Abstract
The opening narrative is unusual among canonical fǎ-texts: it tells the story of a qīngxìnshì 清信士 (lay-believer) of Khotan (于闐國) who recited the Avalokiteśvara mantra with deep concentration, vowing to behold the Bodhisattva. After many years of unrewarded practice he persisted with redoubled effort. One night a voice from the sky directed him: “Go to the neighbouring kingdom and present yourself to a certain king.” The pilgrim travelled to that kingdom, found the king known for the severity of his laws — those who transgressed were certainly executed — and was admitted to court. The king, intuiting the pilgrim’s deepest wish, brought him into the inner palace… The narrative continues with the pilgrim’s eventual encounter with Avalokiteśvara through the unexpected agency of the seemingly cruel king.
The text proceeds to expound the Āmógàifǎ — the Abhaya-Vipula practice — comprising the mūla-mantra, the vidyā-formulae, the mudrā-repertoire, and the siddhi-applications. The narrative-frame is the principal distinguishing feature of the text and reflects the broader Tang Esoteric pattern of embedding sādhana-procedures in didactic narratives — a literary strategy that links the text to the Khotanese-influenced Avalokiteśvara devotional literature of the late Tang and Five-Dynasties period.
The dating is uncertain (the text is anonymous and undated); the kriyā-tantra register and the Khotan-frame suggest a Tang or possibly early-Sòng date.
Translations and research
- Reis-Habito, Maria. Die Dhāraṇī des Großen Erbarmens. Nettetal: Steyler, 1993.
- Hamilton, James. Manuscrits ouïgours de Touen-houang. Paris: Peeters, 1986 — Khotanese-Avalokiteśvara devotional literature.