Fo Guang Shan Buddha Museum

The Joyous Celebration of Mahāsthāmaprāpta Bodhisattva: A Beacon of Light in the Ghost Month

Text by Jeanne H. Tuan

In Taiwanese and other East Asian cultures, the seventh month of the lunar calendar holds great significance. Folklore suggests that during this period, the gates of the underworld opened, allowing spirits and ghosts to roam the earthly realm. To appease these wandering souls and protect the living from misfortune, various rituals and offerings are made. The associated taboos, such as avoiding nighttime outings, refraining from whistling at night, and postponing significant activities, are not merely eerie customs but serve as precautions to avoid drawing the spirits' attention.

Amidst the spooky atmosphere of the seventh lunar month, a notable event occurs. On the 13th day of the seventh lunar month, we commemorate the birthday of Mahāsthāmaprāpta Bodhisattva (Bodhisattva of Boundless Light), one of the Western Triad in Mahayana Buddhism. This celebration contrasts sharply with the rituals and taboos observed during the rest of the month, highlighting the diversity of cultural practices.

At this point, you might be curious about the figures in the Western Pure Land Triad. The Western Pure Land Triad, also known as the Western Three Saints, comprises three key figures in Mahayana Buddhism. Amitabha Buddha, the central figure, created the Pure Land as a realm for rebirth and enlightenment. Avalokiteśvara Bodhisattva (Guanyin), the Bodhisattva of Compassion, serves as Amitabha Buddha's right-hand attendant and aids in alleviating the suffering of beings. Mahāsthāmaprāpta Bodhisattva (Dashizhi), the Bodhisattva of Great Strength and Wisdom, serves as the left-hand attendant, supporting practitioners on their path to the Pure Land. This triad is believed to guide and assist the souls of deceased practitioners or intermediate beings in their journey toward rebirth in the Sukhāvatī (Western Pure Land). The scene of the triad lifting the spirit of the deceased and ascending to the Pure Land of Buddha Amitabha has become a popular theme. Figure 1 illustrates this motif, created in the 13th century during the Tangut State of the Western Xia (982-1227) in Khara-Khoto.

Figure 1: Greeting of the Righteous Man on the Way to the Pure Land of Buddha Amitabha. Tangut State of the Western Xia (982-1227). Khara-Khoto. 13th century. Scroll: color on cotton. The State Hermitage Museum. Saint Petersburg. Russia.

When the belief in rebirth in the Buddhist Western Pure Land prevails in Chinese society, an Amitabha Buddha statue can be found in each household, and a Guanyin image is placed under each roof. In comparison, the name and image of Mahāsthāmaprāpta Bodhisattva are less well-known to the public.  Let’s use this page to explore Mahāsthāmaprāpta, an important figure in the Pure Land of Amitabha, alongside Amitabha Buddha and Avalokiteshvara (Guanyin). First, tapping into the meaning of his name is an essential key to understand the bodhisattva. "Mahāsthāmaprāpta" comes from Sanskrit and means "One Who Has Attained Great Strength." It reflects his high status and spiritual power.

Next, consider the image of Mahāsthāmaprāpta Bodhisattva. The 11th of the sixteen visualization techniques described by Sakyamuni Buddha in the Amitāyurdhyāna Sūtra (Sutra of Contemplation on Buddha Amitayus) depicts him with a large, glowing nimbus around his head. This radiant aura extends approximately 1,000 to 1,250 kilometers (625 to 775 miles) wide and illuminates an area of 2,000 to 2,500 kilometers (1,250 to 1,550 miles). His purple-gold light, visible to those with a karmic connection, symbolizes the light of many Buddhas, earning him the name Immeasurable Light. His wisdom aids beings in avoiding suffering and gaining great power. The Sutra also highlights the differences between Avalokiteshvara and Mahāsthāmaprāpta, noting that while their physical appearances and ornaments are similar, their headdresses differ: Avalokiteshvara's features a standing Amitabha Buddha, while Mahāsthāmaprāpta's is adorned with a treasure vase.

Figure 2: Mahāsthāmaprāpta Bodhisattva, Mogao Cave 217, interior south wall, panel to the left of the alcove, High Tang Dynasty (712 to 756 CE).

This leads us to another focus of the page: the artistic representation of Mahāsthāmaprāpta Bodhisattva. The depiction of Mahāsthāmaprāpta Bodhisattva on the south side outside the niche of Mogao Cave 217 illustrates him wearing a treasure vase crown (see Figure 2). Adorned with jeweled crowns and necklaces, his body is draped in transparent veils that wrap around his wrists and cascade down to his knees. He stands gracefully on green lotuses, with a long skirt covering his feet. The figure is well-proportioned, with a strong and graceful build, and a plump, serene face. His peaceful expression and slight downward gaze convey a sense of kindness and approachability.

Figure 3: Silk painting of Mahasthamaprapta from Khara-Khoto. Western Xia dynasty, 13th century. The State Hermitage Museum. Saint Petersburg. Russia.

In addition, Figure 3 showcases a captivating 12th-century Khara-Khoto artwork of Mahāsthāmaprāpta Bodhisattva, featuring vibrant colors such as deep reds, blues, and golds. Painted on silk, this artwork exhibits a lustrous quality and a style that merges Chinese, Tangut, and Tibetan influences. The Bodhisattva is depicted seated in a meditative pose, adorned with a treasure vase crown and luxurious jewelry, often set upon a lotus.

You might wonder why Mahāsthāmaprāpta Bodhisattva has a precious vase on his crown. There is a significant reason behind this. The vase once held his parents' remains. He learned from Amitābha Buddha that the highest way to repay parents' kindness is through enlightenment and freeing them from the three realms: animals, ghost, and hell. Since his parents had already passed away, Mahāsthāmaprāpta Bodhisattva regretted not being able to guide them. To honor them, he placed their remains in the vase and dedicated his daily practice to them. Over time, the vase transformed from ordinary to precious, and the remains turned into radiant light, symbolizing their spiritual elevation and his devotion.

Figure 4: Sutra Illustration of Western Pure Land.  Mogao Cave 225.  High Tang Dynasty (712 to 756 CE).

In Buddhist art, Mahāsthāmaprāpta Bodhisattva is typically depicted alongside Amitabha Buddha and Avalokiteshvara Bodhisattva, forming a triad that symbolizes the Western Pure Land. This depiction often appears in Sutra Illustrations or Jingbian mural paintings inspired by key texts such as the Amitāyurdhyāna Sūtra, the Amitabha Sūtra (The Shorter Sukhāvatīvyūha Sūtra), and the Sukhāvatī-vyūha Sūtra (The Sutra of Immeasurable Life).  A prominent example of this artistic tradition is illustrated in Figure 4, which features a renowned narrative mural from Mogao Cave 225, dating back to the High Tang Dynasty (712 to 756 CE). This mural vividly portrays the Pure Land of Amitabha as described in the Amitabha Sūtra. In the central part of the south wall, the scene of "Amitabha Preaching" is depicted, with Bodhisattva Avalokiteshvara and Bodhisattva Mahāsthāmaprāpta sitting facing each other with palms together in a gesture of reverence. Surrounding them are other bodhisattvas, all portrayed with dignified and serene expressions, attentively listening to the teachings.  

Figure 5: Amitabha Buddha Preaching, flanked by Mahāsthāmaprāpta Bodhisattva on the right. North Wall of Mogao Cave 57, Early Tang Dynasty (618-704 CE). 

The western triad of Amitabha Buddha, Avalokiteshvara, and Mahāsthāmaprāpta is a common motif in scenes depicting Amitabha Preaching, highlighting their significance in the visual representation of the Pure Land.  Figure 5 depicts a scene of Amitabha preaching, painted at the center of the south wall and surrounded by thousand-Buddha motifs in Mogao Cave 57. The central figure, Amitabha Buddha, seated on a lotus throne, wears a patched red kasaya with the right shoulder exposed. Avalokiteshvara is positioned on the left, while Mahāsthāmaprāpta is on the right. Mahāsthāmaprāpta is adorned with a crown featuring an illuminating vase and various jade-like ornaments such as armlets and wristlets. He extends his right hand outward and his left hand upward, with slightly downcast eyes and an inward-bent posture, resembling a graceful lady from the East.

While the seventh lunar month is recognized for its rituals aimed at managing the influence of wandering spirits, it also features the notable celebration of Mahāsthāmaprāpta Bodhisattva’s birthday. Referred to as the Bodhisattva of Boundless Light, his special day on the 13th contrasts with the month’s more solemn traditions. As a key figure in the Western Pure Land Triad, Mahāsthāmaprāpta’s role in guiding souls to enlightenment is vividly depicted in artworks from sites like Mogao Caves and Khara-Khoto. This celebration not only underscores his spiritual significance but also enhances our understanding of Buddhist practices.