Tuesday, March 3, 2020

ataching to detach

Humility.
The Tiruppavai celebrates the glory of the Supreme Lord as much as that of a true devotee. Its emphasis is on the eternal quality of the relationship between them which, when internalised by the latter, equips him with absolute humility, pointed out Sri Rajahamsam Swami in a discourse. The Gopis in Ayarpadi are all soaked in thoughts of Krishna. They never tire of recalling His feats and His master plans by which He outwits Kamsa’s wily attempts to murder Him.

Andal shows that along with this devotion, it is important to realise that no one is infallible and that all are liable to faults. So, in one verse, when one Gopi accepts that she is at fault, and accepts this truth graciously and honestly, it generates the ennobling trait of humility. When one is humble, one finds that shortcomings and failures are inherent in human nature and one does not succumb to the sense of ego and pride. The true devotee knows his limitations and is also aware that this bhakti bhava in him is owing to the compassion of the Lord. In his inner self he is honest about it. One who is endowed with the bhava of humility is indeed the most fortunate person. For in him devotion and virtue can grow and thrive.

One who lacks humility loses all and is lost in the cycle of birth. In this context, Bharata exemplifies the virtue of absolute humility that is rooted in his faultless integrity. When Rama is exiled and Dasaratha dies, he is driven to a situation when though guiltless, he faces blame and censure from all. But such is his mental maturity that springs from his spontaneous love for Rama that he deals with this plight with tremendous dignity. He invokes on himself all kinds of punishment if he is guilty. But finally instead of blaming others, he blames himself for all this.

Strong Bond
In the Gita, Krishna analyses the various ways in which devotion takes root in people. He knows that many seek favours of Him for various reasons, for wealth, knowledge, relief from distress, and so on. Though He then claims that one who seeks Him for His sake is very dear to Him, His unparalleled magnanimity is seen in His recognition and response to all who seek Him, irrespective of their motive, pointed out Kalyanapuram Sri Aravamudhachariar in a discourse. None knows better than Him that for every jivatma, crossing this life on earth is beset with hurdles and therefore His devotees find great mental strength in seeking His help. It is held that at the end of Krishna avatar, the Lord departs with the feeling that he has not done enough for Draupadi. When she is in distress and on the verge of extreme humiliation, she knows that none but He alone could help.

Though Krishna is in Dwaraka, her loud cry for help in her utter helplessness, bears fruit in a totally unbelievable manner. It proves beyond doubt His omniscience, omnipotence and omnipresence. But He still has this misgiving that He could not be present in person to alleviate her distress. He says that He is indebted to Draupadi in this account.

He comes to the assistance of Gajendra when the elephant calls out to the one who is the primordial source of all. With extraordinary sincerity He befriends a Guha or a Sugriva; accepts the humble offerings of a Sabhari or a Kuchela and graces them handsomely. When He enters Mathura to meet Kamsa, He goes out of the way to bless Kubja who gains a beautiful form and to shower His grace on the garland vendor. He grants the highest attainment to the unlettered and simple Gopis. It is no wonder that His devotees automatically feel doubly indebted to Him.

Balancing act.
In his Thiruvezhukoottrirukkai, in praise of Lord Aravamudhan of Kumbakonam, Thirumangai Azhvar uses words referring to numerals, counting from one to seven, to get the image of a ratha. But why not go beyond seven? The grammar for this type of poetry does not talk of more than seven numerals and seven Azhvars have praised Aravamudhan. There is a Vedic story, too, which could be seen as justification for ‘seven,

The devas decided to use poetic metres to form a chariot for Prajapati. The metres they chose were Gayatri, which has 24 aksharas; UshNik with 28 aksharas; Bruhatee with 36 aksharas; Pankti with 40 aksharas; Trishtubh with 44 aksharas; anushtubh with 32 aksharas and Jagati with 48 aksharas. The seven lokas are said to be contained in these seven metres. But the question now arises as to how a ratha could be constructed using mantras, each of which had a different number of aksharas. This problem was solved by metre Bruhatee. Bruhatee suggested that with its own 36 aksharas, it would be the anchor, and all other metres could be brought to equal its aksharas. So, Pankti yielded four aksharas to anushtubh; Trishtubh gave eight aksharas to UshNik; Jagati gave 12 aksharas to Gayatri. Thus, all mantras ended up having 36 aksharas, and the required balance was achieved.

It could be that Thirumangai Azhvar did not go beyond ‘seven’ in his Thiruvezhukoottrirukkai, because only seven metres were used for Prajapati’s chariot. The word chandas also means desire. So, the Lord goes wherever and whenever He wants to, travelling in His ratha. If one performs a yaga, focusing one’s thoughts on the Lord proceeding in his chandoratha, one will be blessed. An easier alternative is for one to listen to the mantras being recited.

Desirable qualities.
The Tamil word ‘aram’ is not easy to translate. Some translate it as dharma. Qualities like envy, anger and greed predominate in most of us. Overcoming such qualities can be called ‘aram,’ 

Many Tamil poets have written about ‘aram’. Vilambi Naganar says love towards all leads to empathy and kindness, and these may be taken to be the foundation of ‘aram’. Munaippaadiyar wrote a work called Aranericchaaram. It talks of worldly attachments and of being freed from attachments, which eventually leads to liberation from the cycle of births and deaths. It says that to live without malice towards anyone, to have love for all mankind, is the proper way to live. Deceiving others and turning away from those who need help are traits to despised. This poet lists ten qualities as desirable: honesty, patience, lofty thoughts, penance, humility, impartiality, selflessness, saintliness, desire to do good to others and adherence to ‘vratas’.

Kanimedhaviyar says honesty, spurning alcohol, not befriending wicked people, not abusing others are the qualities one must have, and a person who has such qualities does not need to read works that preach dharma, for he already knows the dharmic way of living. Poet Avvaiyar said we should have the urge to do good things. She said there is nothing better than domestic life. The Tamil work Pinkalandai says a person who has no gratitude towards those who helped him deserves to be punished. Thiruvalluvar says he who has a pure heart is a good man. This might seem easy, but having good thoughts is difficult. We may pretend to be good, but our hearts are filled with envy and ill-will towards others. If we can get rid of such negative thoughts, we will qualify to be called good human beings.

Lessons taught.
The Supreme One incarnates to help jivatmas attain moksha. As Krishna, He gave the world the Bhagavad Gita. But He also got Bhishma to tell Yudhishthira about the power of His names. Bhishma had already set an example to everyone by his virtuous conduct. Sages have laid down rules which we must follow to attain His feet.

When He Himself has taken avataras, to show us the right path, why did He send sages to instruct us? Although as Rama He lived an exemplary life, we might dismiss it saying He was able to adhere to dharma, because He was the Supreme One. But if a fellow human being were to advise us and show us how to live life in accordance with dharma, then we are likely to pay attention. That was the reason why He sent rishis to this world, to give us important lessons in life, said Velukkudi Krishnan in a discourse. Saunaka was one such rishi who listed steps to follow in life in order to reach Him and to be rid once and for all of repeated births and deaths. Saunaka’s advice is compiled under the title Vishnu dharma, and it came in response to questions asked by King Sataneeka.

Sataneeka had an illustrious lineage. He came in the line of Pariskhit. Parikshit, knowing that he had only a few days to live, listened to Suka’s narration of Srimad Bhagavatam. Parikshit’s son was Janamejaya and Janamejaya’s son was Sataneeka. Kings used to pay attention to what sages told them, for they needed to govern in accordance with dharma. They, therefore, paid heed to rishis.

True Devotion.
Periazhwar and his daughter Andal teach by example the way to serve and worship God. Periazhwar offers fragrant flower garlands to the Lord with great affection, and Andal in addition, offers a unique garland of verses, the Tiruppavai hymns that exude the fragrance of the very essence of the Vedas in simple terms. The structure, form and content of the Tiruppavai hymns emphasise that the aim of life is to be engaged in devoted service to the Lord eternally. One need not be well-versed in the sastras to seek Him; nor do jnana, bhakti, vairagya and viveka depend on one’s birth, status, livelihood, etc.

The verses on the whole instil bhakti bhava that is synonymous with Dasya Bhava, a significant trait fostered in the devout by the Vaishnava tradition, pointed out Sri Srinivasa Gopala Maha Desikan in a discourse. First of all the devotee is trained to see himself as a servant of the Lord and be aware of his status as one treading the journey to salvation. So it follows that the jivatmas’ prime duty is to pay obeisance to the Paramatma, who is the supreme and sole refuge for all. Serving the Lord with simple offerings and with hearts filled with love is no doubt the practice of devotees. But as devotion takes root, one realises like Nammazhwar that true devotion finds fulfilment in serving the devotees of the Lord.

Azhwars too take pride in being at the lowest rung in the hierarchy of servants who serve the Lord. True devotion leads one to believe that the dust from the feet, the ‘adi podi’ of ‘tondars,’ bhaktas, can purify the mind and rid one of sins. Andal shows this bhava as predominant in the Gopis observing the Katyayani vrata in Ayarpadi whose only desire is to nurture their ‘feeling of relation’ with Krishna.


Monday, March 2, 2020

siddham script

Siddham script   Siddham

Origin

The Siddham script is a descendent of the Brahmi script and an ancestor of the Devanagari script. The name Siddham comes from Sanskrit and means "accomplished or perfected" The Siddham script is mainly used by Shingon Buddhists in Japan to write out mantra and sutras in Sanskrit. It was introduced to Japan by Kukai in 806 AD after he had studied Sanskrit and Mantrayana Buddhism in China. In Japan the Siddham script is known as 梵字 (bonji).

Notable features

  • Type of writing system: syllabic alphabet
  • Writing direction: left to right in horizontal lines.
  • Used to write: Sanskrit

Siddham script

Vowels

Siddham vowels

Vowel diacritics with ka

Siddham diacritics with ka

Consonants

Siddham consonants

Sample text in Sanskrit in the Siddham alphabet

Sample text in Sanskrit in the Siddham alphabet

Transliteration

Sarve mānavāḥ svatantratāḥ samutpannāḥ vartante api cha, gauravadr̥śā adhikāradr̥śā ca samānāḥ eva vartante. Ete sarve cetanā-tarka-śaktibhyāṁ susampannāḥ santi. Api ca, sarve’pi bandhutva-bhāvanayā parasparaṁ vyavaharantu.

Translation

All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
Auṃ maṇi padme hūṃ (Sanskritॐ मणिपद्मे हूँIPA: [õːː mɐɳɪpɐdmeː ɦũː]) is the six-syllabled Sanskrit mantra particularly associated with the four-armed Shadakshari form of Avalokiteshvara, the bodhisattva of compassion. It first appeared in the Mahayana Kāraṇḍavyūhasūtra where it is also referred to as the sadaksara (six syllabled) and the paramahrdaya, or “innermost heart” of Avalokiteshvara. In this text the mantra is seen as condensed form of all the Buddhist teachings.
The first word Aum/Om is a sacred syllable in various Indian religions. The word Mani means "jewel" or "bead", Padme is the "lotus flower" (the Buddhist sacred flower), and Hum represents the spirit of enlightenment.
In Tibetan Buddhism, this is the most ubiquitous mantra and the most popular form of religious practice, performed by laypersons and monastics alike. It is also an ever present feature of the landscape, commonly carved onto rocks, known as mani stones, painted into the sides of hills or else it is written on prayer flags and prayer wheels.
Due to the increased interactions between Chinese Buddhists and Tibetans and Mongolians during the 11th century, the mantra also entered Chinese Buddhism. The mantra has also been adapted into Chinese Taoism.

Transliterations[edit]

In English, the mantra is variously transliterated, depending on the schools of Buddhism as well as individual teachers.
Most authorities consider maṇipadme to be one compound word rather than two simple words.[9] Sanskrit writing does not have capital letters and this means that capitalisation of transliterated mantras varies from all caps, to initial caps, to no caps. The all-caps rendering is typical of older scholarly works, and Tibetan Sadhana texts.
  • IAST (Roman alphabet): Oṃ Maṇi Padme Hūṃ
  • Tibetanཨོཾ་མ་ཎི་པ་དྨེ་ཧཱུྃ (Tibetan Pinyin:Om Mani Bêmê Hum)
  • Mongolian:
    • Classical Mongolian: ᠣᠧᠮ
      ᠮᠠ
      ᠨᠢ
      ᠪᠠᠳ
      ᠮᠡᠢ
      ᠬᠤᠩ
       (Oëm ma ni bad mei qung)
    • Khalkha: Ум мани бадмэ хум (Um mani badme khum)
    • Buryat: Ом маани бадмэ хум (Om maani badme khum)
  • Chinese唵嘛呢叭咪吽 (ǎn má ní bā mī hōng) or 唵嘛呢叭𠺗吽 (ǎn má ní bā miē hōng) or 唵嘛呢叭𡄣吽 (ǎn má ní bā mí hōng) or 唵麼抳缽訥銘吽 (ǎn mó ní bō nè míng hōng)
  • Sanskritॐ मणिपद्मे हूँ (om manipadme hum)
  • Korean옴 마니 반메 훔 (Om Mani Banme Hum) or 옴 마니 파드메 훔 (Om Mani Padeume Hum)
  • Japaneseオーム・マニ・パドメー・フーム (Ōmu Mani Padomē Fūmu) or オムマニペメフム (Omu Mani Peme Fumu)
  • Bengaliওঁ মণিপদ্মে হুঁ (Om Monipôdde hum)
  • Malayalam: ഓം മണി പദ്മേ ഹും
  • Burmese languageဥုံမဏိပဒ္မေဟုံ (Burmese pronunciation: [òʊɰ̃ ma nḭ paʔ mè hòʊɰ̃])
  • Nepali language: ॐ मणि पद्मे हुँ
  • Vietnamese: Án ma ni bát mê hồng
  • Thai: โอมฺ มณิ ปทฺเม หูมฺ
  • 'Phags pa: ʼom ma ni pad me hung ꡝꡡꡏ

    ꡋꡞ
    ꡌꡊ
    ꡏꡠ
    ꡜꡟꡃ
  • Sinhalaඕම් මනි පද්මේ හූම්
  • Tagalog (Filipino)ᜂᜋ᜔ᜋᜈᜒᜉᜇ᜔ᜋᜒᜑᜓᜋ᜔ Um mani pad mi hum
  • Telugu: ఓం మణి పద్మే హుం
  • Tangut𗙫𗏵𗐱𗴟𗘺𗦀 ·a mja nji pja mjij xo
  • Old Uyghur: oom mani badmi xung
  • JurchenJason Glavy's Jurchen font: 嗆丵喒侠剣儂 am ma ni ba mi xu
  • Tamil: ஓம் மணி பத்மே ஹூம்
  • kannada ಓಂ ಮಣಿ ಪದ್ಮೇ ಹುಂ

Meaning and effects[edit]


Stele of Sulaiman, erected at the Mogao Caves in 1348 to commemorate the donations of Sulaiman, Prince of Xining. It includes the six-syllable mantra written in six different scripts: Lantsa [1st row], Tibetan [2nd row], Uighur [far left], 'Phags-pa [left], Tangut [right], Chinese [far right].

Semantic[edit]

Mantras may be interpreted by practitioners in many ways, or even as mere sequences of sound whose effects lie beyond strict semantic meaning.
The middle part of the mantra, maṇipadme, is often interpreted as being in the locative case, "jewel in the lotus," Sanskrit maṇí "jewel, gem, cintamani" and the locative of padma "lotus". The Lotus is a symbol present throughout Indian religion, signifying purity (due to its ability to emerge unstained from the mud) and spiritual fruition (and thus, awakening).[10] Maṇipadme is preceded by the oṃ syllable and followed by the hūṃ syllable, both interjections without linguistic meaning, but widely known as divine sounds.
However, according to Donald Lopez (citing Tibetan grammatical sources) it is much more likely that maṇipadme is in fact a vocative, addressing a bodhisattva called maṇipadma, "Jewel-Lotus"- an alternative epithet of the bodhisattva Avalokitesvara.[11]
Damien Keown also notes that another theory about the meaning of this mantra is that it actually invokes a female deity named Manipadmi.[12] This is due to evidence from texts like the Kāraṇḍavyūhasūtra which depict the mantra as a female deity. Also, as noted by Studholme, if the word is read as a vocative, it would be a highly irregular form of the masculine grammatical gender and therefore its most likely in the feminine.[13] Thus as Lopez notes, the original meaning of the mantra could in fact be an invocation of "she of the lotus jewel", who is the vidya (wisdom) and consort of Avalokiteshvara and is equivalent to Shakti's role vis a vis Shiva.[14]
Regarding the relationship between the jewel and the lotus, Sten Konow argued that it could either refer to "a lotus that is a jewel" or to "a jewel in the lotus". He argues that the second explanation makes more sense, indicating Shaivite influence through the imagery of the lingam (penis) and the yoni (vagina), both also terms associated with mani and padma respectively.[14] Thus the mantra could in fact mean "O, she with the jewel in her lotus".
According to Alexander Studholme however, the meaning of manipadme "should be parsed as a tatpurusa, or “determinative,” compound in the (masculine or neuter) locative case", meaning “in the jewel-lotus,” or “in the lotus made of jewels,” which refers to:[15]
the manner in which buddhas and bodhisattvas are said to be seated in these marvelous blooms and, in particular, to the manner in which more mundane beings are believed to appear in the pure land of the buddhas. Given the predominance, in the Kāraṇḍavyūha and in the Mahayana in general, of the religious goal of the pure land of Amitabha, it may be safely assumed that maṇipadme would have been quite naturally associated with the mode of the rebirth of human beings there. The recitation of Oṃ Maṇi Padme Hūṃ, then, the bringing to mind of the name of the Buddhist isvara, includes a declaration of the manner in which a person is reborn in Sukhavati: “in the jewel lotus.”

According to the Kāraṇḍavyūhasūtra[edit]


A Tibetan Sand Mandala of Avalokitesvara, a key element of the tantric initiation ritual required to practice the mantra according to the Kāraṇḍavyūha.

In the Nepalese Lanydza script
The first known description of the mantra appears in the Kāraṇḍavyūhasūtra (“The Basket’s Display”, c. 4-5th centuries), which is part of certain Mahayana canons such as the Tibetan. In this sutraShakyamuni Buddha states, "This is the most beneficial mantra. Even I made this aspiration to all the million Buddhas and subsequently received this teaching from Buddha Amitabha."[16]
The sutra promotes the recitation of this mantra as a means to liberation. It states that whoever knows (janati) the mantra will know liberation as a fully enlightened Buddha. It also states that initiation into the mantra by a qualified preceptor (which is said to be a lay dharmabhanaka, vidyadhara or mahasiddha) is an important requirement for practicing this mantra. In the sutra, Avalokitesvara says that the mantra should not be given to one who has not seen the mandala.[17] This initiation is said to be open to all Buddhists regardless of class and gender, whether they be of the Mahayana or Hinayana, but not to tirthikas.[18]
The Kāraṇḍavyūhasūtra also sees the mantra as the pith or condensed expression of all "eighty four thousand Dharmas." Because of this it is called “the grain of rice of the Mahayana”, and reciting it is equivalent to reciting numerous sutras.[19]
Thus, according to Studholme, the significance of the mantra in the Kāraṇḍavyūha is mainly that it is the "innermost heart" of Avalokitesvara, and therefore is "a means both of entering into the presence of Avalokitesvara and of appropriating some of the bodhisattva’s power."[20] Its practice is said to lead numerous positive qualities including:[21]
  • The seeing (darsana) the bodhisattva's "thousand-fold" form,
  • Rebirth in into the myriad worlds contained in the pores of the bodhisattva's body
  • Innumerable samadhis (meditative absorptions), including the samadhi of “rejoicing in loving kindness and compassion” (maitri-karuna-mudito).
  • The development of "great compassion" (maha karuna)
  • Accumulation of immeasurable merit
  • Accomplishment of the six perfections
  • Awakening (bodhi)
In this sutra, the sadaksari mahavidya (six syllabled great vidya) also appears as a goddess, “autumn yellow” in color, with four arms, with two arms holding a lotus and prayer beads, and the other two in anjali mudra. According to Studholme, these features are similar to the way the mantra Om nama shivaya is depicted in Shaiva texts, since "both are concise vidyas, the hrdayas [heart] of their respective isvaras, sui generis means of attaining liberation, universally available, though of rare value and somewhat secret. Both are also, it has been argued, conceived of as forms of pranava [divine sound]."[22]
The Kāraṇḍavyūhasūtra was translated into Chinese in the 11th or 12th century and it is part of the Chinese Buddhist canon.[23]

In Tibetan Buddhism[edit]


The mantra in Tibetan script with the six syllables colored

"om mani padme hūṃ hrīḥ"

"om mani padme hūṃ", mani stone carved in Tibetan script outside the Potala Palace in Lhasa

The largest mantra inscription in the world is located on Dogee Mountain in Kyzyl, Russia[24]
The 11th century Bengali master Atiśa Dīpaṃkara Śrījñāna who was influential in bringing Buddhism to Tibet, also wrote a short treatise on the mantra, called the Arya-sad-aksari-sadhana.[25] Some Buddhist scholars argue that the mantra as practiced in Tibetan Buddhism was based on the Sadhanamala, a collection of sadhana or spiritual practices, published in the 12th century.[26] However, according to Peter Alan Roberts, "the primary source for Tibetan Avalokitesvara practices and teachings" is the 11th century Mani Kabum.[27]
Donald Lopez writes that according to a 17th century work by the prime minister of the fifth Dalai Lama, the meaning of the mantra is said to be "O, you who have the jewel and the lotus." That manipadme is in the vocative case is also supported by a 9th century Tibetan grammatical treatise.[28]
Lopez also notes that the majority of Tibetan Buddhist texts have regarded the translation of the mantra as secondary, focusing instead on the correspondence of the six syllables of the mantra to various other groupings of six in the Buddhist tradition.[29]
For example, in the Chenrezig Sadhana, Tsangsar Tulku Rinpoche expands upon the mantra's meaning, taking its six syllables to represent the purification of the six realms of existence:[30]

SyllableSix PāramitāsPurifiesSamsaric realmColorsSymbol of the Deity(Wish them) To be born in
OmGenerosityPride / EgoDevasWhiteWisdomPerfect Realm of Potala
MaEthicsJealousy / Lust for entertainmentAsurasGreenCompassionPerfect Realm of Potala
NiPatiencePassion / desireHumansYellowBody, speech, mind
quality and activity
Dewachen
PadDiligenceIgnorance / prejudiceAnimalsBlueEquanimitythe presence of Protector (Chenrezig)
MeRenunciationGreed / possessivenessPretas (hungry ghosts)RedBlissPerfect Realm of Potala
HumWisdomAggression / hatredNarakaBlackQuality of Compassionthe presence of the Lotus Throne (of Chenrezig)

According to Trijang Rinpoche[edit]

The tutor to the present Dalai Lama, Trijang Rinpoche (1901-1981) wrote a commentary on the mantra which states:
Regarding mani padme, "Jewel Lotus" or "Lotus Jewel" is one of the names of the noble Avalokitesvara. The reason that he is called by that is that, just as a lotus is not soiled by mud, so the noble Avalokitesvara himself has, through his great wisdom, abandoned the root of samsara, all the stains of the conception of true existence together with its latencies. Therefore, to symbolize that he does not abide in the extreme of mundane existence, he holds a white lotus in his hand...He joins the palms of his two upper hands, making the gesture of holding a jewel to symbolize that, like a wish-granting jewel, he eliminates all the oppression of suffering for all sentient beings and bestows upon them all temporary and ultimate benefit and bliss.[31]

According to the 14th Dalai Lama[edit]

"It is very good to recite the mantra Om mani padme hum, but while you are doing it, you should be thinking on its meaning, for the meaning of the six syllables is great and vast... The first, Om [...] symbolizes the practitioner's impure body, speech, and mind; it also symbolizes the pure exalted body, speech, and mind of a Buddha[...]"
"The path of the middle way is indicated by the next four syllables. Mani, meaning jewel, symbolizes the factors of method: (the) altruistic intention to become enlightened, compassion, and love.[...]"
"The two syllables, padme, meaning lotus, symbolize wisdom[...]"
"Purity must be achieved by an indivisible unity of method and wisdom, symbolized by the final syllable hum, which indicates indivisibility[...]"
"Thus the six syllables, om mani padme hum, mean that in dependence on the practice of a path which is an indivisible union of method and wisdom, you can transform your impure body, speech, and mind into the pure exalted body, speech, and mind of a Buddha[...]"
—H.H. Tenzin Gyatso, 14th Dalai Lama, "On the meaning of: OM MANI PADME HUM"[32]

Dilgo Khyentse Rinpoche[edit]


Carved mani stones, each with "Om Mani Padme Hum" on a pathway in Zangskar
"The mantra Om Mani Pädme Hum is easy to say yet quite powerful, because it contains the essence of the entire teaching. When you say the first syllable Om it is blessed to help you achieve perfection in the practice of generosity, Ma helps perfect the practice of pure ethics, and Ni helps achieve perfection in the practice of tolerance and patience. Pä, the fourth syllable, helps to achieve perfection of perseverance, Me helps achieve perfection in the practice of concentration, and the final sixth syllable Hum helps achieve perfection in the practice of wisdom.
"So in this way recitation of the mantra helps achieve perfection in the six practices from generosity to wisdom. The path of these six perfections is the path walked by all the Buddhas of the three times. What could then be more meaningful than to say the mantra and accomplish the six perfections?"
Dilgo Khyentse RinpocheHeart Treasure of the Enlightened Ones[33]

Variations[edit]


The mantra: Om Mani Peme Hum Hri
As Bucknell et al. (1986, p. 15.) say, the complete Avalokiteshvara Mantra includes a final hrīḥ (Sanskritह्रीःIPA: [ɦɽiːh]), which is iconographically depicted in the central space of the syllabic mandala as seen in the ceiling decoration of the Potala Palace.[34] The full mantra in Tibetan is thus: ཨོཾ་མ་ཎི་པདྨེ་ཧཱུྃ་ཧྲཱིཿ The hrīḥ is not always vocalized audibly and may be resonated "internally" or "secretly" through intentionality.
According to Sam Van Schaik, Tibetan works from Dunhuang which was a major cult center of Avalokitesvara, contain numerous mantras associated with this figure, the six syllable mantra only being one of many. Some of these are lesser known variations on the six syllable mantra such as: Om vajra yaksa mani padme hum.[35]
Another variation, noted by Peter Alan Roberts, is Om manipadme hum mitra svaha.