Mahasiddha

The Tantric communities of India in the

latter half of the rst Common Era millennium
(and perhaps even earlier) were something
like Institutes of Advanced Studies in relation to the great Buddhist monastic Universities. They were research centers for highly
cultivated, successfully graduated experts in
various branches of Inner Science (adhyatmavidya), some of whom were still monastics
and could move back and forth from university (vidyalaya) to site (patha), and many of
whom had resigned vows of poverty, celibacy,
and so forth, and were living in the classical
Indian sannysin or sdhu style. I call them
the psychonauts of the tradition, in parallel
with our astronauts, the materialist scientistadventurers whom we admire for their courageous explorations of the outer space which
we consider the matrix of material reality. Inverse astronauts, the psychonauts voyaged deep
into inner space, encountering and conquering angels and demons in the depths of their
subconscious minds.[1]
Mahasiddha Ghantapa, from Situ Panchen's set of thangka depicting the Eight Great Tantric Adepts. 18th century

1 Genealogy and historical dates

The exact genealogy and historical dates of the Mahasiddhas are contentious. Dowman (1986) holds that they all
Mahasiddha (Sanskrit: mahsiddha great adept;
lived between 750 and 1150 CE.
Tibetan: , Wylie: grub thob chen po, THL:
druptop chenpo ) is a term for someone who embodies and
cultivates the "siddhi of perfection. They are a certain
2 Primary tradition
type of yogin/yogini recognized in Vajrayana Buddhism.
Mahasiddhas were tantra practitioners or tantrikas who
had sucient empowerments and teachings to act as a Abhayadatta Sri is an Indian scholar of the 12th cenguru or tantric master. A siddha is an individual who, tury who is attributed with recording the hagiographies of
through the practice of sdhan, attains the realization of the eighty-four siddha in a text known as The History of
siddhis, psychic and spiritual abilities and powers. Their the Eighty-four Mahasiddha (Sanskrit: Caturasitisiddha
historical inuence throughout the Indian subcontinent pravrtti; Wylie: grub thob brgyad bcu tsa bzhi'i lo rgyus ).
and the Himalayas was vast and they reached mythic Dowman holds that the eighty-four Mahasiddha are spirproportions as codied in their songs of realization and itual archetypes:
hagiographies, or namtars, many of which have been preserved in the Tibetan Buddhist canon. The Mahasiddhas
The number eighty-four is a whole or
are the founders of Vajrayana traditions and lineages such
perfect number. Thus the eighty-four sidas Dzogchen and Mahamudra.
dhas can be seen as archetypes representing
Robert Thurman explains the symbiotic relationship between Tantric Buddhist communities and the Buddhist
universities such as Nalanda which ourished at the same
time:

the thousands of exemplars and adepts of the

tantric way. The siddhas were remarkable for
the diversity of their family backgrounds and
the dissimilarity of their social roles. They
1

4
were found in every reach of the social structure: kings and ministers, priests and yogins,
poets and musicians, craftsmen and farmers,
housewives and whores.[2]

Reynolds (2007) states that the mahasiddha tradition

evolved in North India in the early Medieval Period
(313 cen. CE). Philosophically this movement was
based on the insights revealed in the Mahayana Sutras
and as systematized in the Madhyamaka and Chittamatrin schools of philosophy, but the methods of meditation
and practice were radically dierent than anything seen in
the monasteries.[3] He proers that the mahasiddha tradition broke with the conventions of Buddhist monastic
life of the time, and abandoning the monastery they practiced in the caves, the forests, and the country villages
of Northern India. In complete contrast to the settled
monastic establishment of their day, which concentrated
the Buddhist intelligenzia [sic.] in a limited number of
large monastic universities, they adopted the life-style of
itinerant mendicants, much as the wandering Sadhus of
modern India.[3]

GEOGRAPHICAL SITES

in both lists. In many instances more than one siddha with

the same name exists, so it must be assumed that fewer
than thirty siddhas of the two traditions actually relate to
the same historical persons. In the days when the siddhas
of the later Tibetan traditions ourished in India (i.e., between the 9th and 11th centuries), it was not uncommon
for initiates to assume the names of famous adepts of the
past. Sometimes a disciple would have the same name as
his guru, while still other names were based on caste or
tribe. In such a context the distinction between siddhas
of the same name becomes blurred. The entire process
of distinguishing between siddhas with the same name
of dierent texts and lineages is therefore to large extent
guesswork. The great variation in phonetic transcription
of Indian words into Tibetan may partly be the result of
various Tibetan dialects. In the process of copying the Tibetan transcriptions in later times, the spelling often became corrupted to such an extent that the recognition or
reconstitution of the original names became all but impossible. Whatever the reasons might be, the Tibetan
transcription of Indian names of mahasiddhas clearly becomes more and more corrupt as time passes.

The charnel ground conveys how great mahasiddhas in

the Nath and Vajrayana traditions such as Tilopa (988
1069) and Gorakshanath (. 11th 12th century) yoked
adversity to till the soil of the path and accomplish the 4 Geographical sites
fruit, the ground (Sanskrit: raya; Wylie: gzhi ) of
realization:[4]
Local folk tradition refers to a number of icons and sacred
sites to the eighty-four Mahasiddha at Bharmour (formerly known as Brahmapura) in the Chaurasi complex.[6]
The charnel ground is not merely the herThe word chaurasi means eighty-four.
mitage; it can also be discovered or revealed in
completely terrifying mundane environments
where practitioners nd themselves desperate
and depressed, where conventional worldly asIt is also very signicant that nowhere else,
pirations have become devastated by grim realexcept at Bharmaur in Chamba district, may
ity. This is demonstrated in the sacred biograbe seen the living tradition of the Eighty-four
phies of the great siddhas of the Vajrayna traSiddhas. In the Chaurasi temple complex, near
dition. Tilopa attained realization as a grinder
which the famous temple of goddess Lakshana
of sesame seeds and a procurer for a promi(8th century A.D.) stands, there once were
nent prostitute. Sarvabhaka was an extremely
eighty-four small shrines, each dedicated to a
obese glutton, Goraka was a cowherd in reSiddha.[7]
mote climes, Tatepa was addicted to gambling, and Kumbharipa was a destitute potter.
These circumstances were charnel grounds beA number of archaeological sacred sites require iconocause they were despised in Indian society and
graphic analysis in the Chaurasi complex in Chamba, Hithe siddhas were viewed as failures, marginal
machal Pradesh. Although it might be hagiographical acand deled.[5]
cretion and folk lore, it is said that in the reign of Sahil
Varman:

Other traditions

According to Ulrich von Schroeder, Tibet has dierent

traditions relating to the mahasiddhas. Among these traditions, two were particularly popular, namely the Abhayadatta Sri list and the so-called Vajrasana list. The
number of mahasiddhas varies between eighty-four and
eighty-eight, and only about thirty-six of the names occur

Soon after Sahil Varmans accession

Brahmapura was visited by 84 yogis/
mahasidhas, who were greatly pleased
with the Rajas piety and hospitality; and as he
ad no heir, they promised him ten sons and
in due course ten sons were born and also a
daughter named Champavati.

Catursiti-siddha-pravtti

the Kham, entered the Himalayan tantric tradition from

the Mahasiddha, Ngagpa and Bonpo. Dream Yoga or
The Caturasiti-siddha-pravrtti (CSP), The Lives of the "Milam" (T:rmi-lam; S:svapnadarana), is one of the Six
Eighty-four Siddhas, compiled by Abhayadatta Sri, a Yogas of Naropa.
Northern Indian Sanskrit text dating from the 11th or Four of the eighty-four Mahasiddhas are women.[9] They
12th century, comes from a tradition prevalent in the an- are:
cient city-state of Campa in the modern district of Bihar. Only Tibetan translations of this Sanskrit text seem
Manibhadra, the Perfect Wife
to have survived. This text was translated into Tibetan by
Lakshmincara, The Princess of Crazy wisdom
sMon grub Shes rab and is known as the Grub thob brgyad
cu rtsa bzhii lo rgyus or The Legends of the Eighty-four
Mekhala, the elder of the 2 Headless Sisters
Siddhas. It has been suggested that Abhayadatta Sri is
Kanakhala, the younger of the 2 Headless Sisters
identical with the great Indian scholar Mahapandita Abhayakaragupta (late 11thearly 12th century), the compiler of the iconographic compendiums Vajravali, Nis- Von Schroeder (2006) states:
pannayogavali, and Jyotirmanjari.
Some of the most important Tibetan BudThe other major Tibetan tradition is based on the list condhist
monuments to have survived the Cultural
tained in the Caturasiti-siddhabhyarthana (CSA) by RatRevolution
between 1966 and 1976 are located
nakaragupta of Vajrasana, identical with Bodhgaya (Tib.:
at
Gyantse
(rGyal rtse) in Tsang province of
rDo rje gdan) located in Bihar, Northern India. The TiCentral
Tibet.
For the study of Tibetan art, the
betan translation is known as Grub thob brgyad cu rtsa
temples
of
dPal
khor chos sde, namely the dPal
bzhii gsol debs by rDo rje gdan pa. There exist several
khor
gTsug
lag
khang and dPal khor mchod
Tibetan versions of the list of mahasiddhas based on the
rten,
are
for
various
reasons of great imporVajrasana text. However, these Tibetan texts dier in
tance.
The
detailed
information
gained from
many cases with regard to the Tibetan transcriptions of
[8]
the
inscriptions
with
regard
to
the
sculptors
the Indian mahasiddhas names.
and painters summoned for the work testies to
the regional distribution of workshops in 15thcentury Tsang. The sculptures and murals also
6 Eighty-four Mahasiddhas
document the extent to which a general consensus among the various traditions or schools
had been achieved by the middle of that cenBy convention there are eighty-four Mahasiddhas in both
tury. Of particular interest is the painted cycle
Hindu and Tibetan Buddhist traditions, with some overof eighty-four mahsiddhas, each with a name
lap between the two lists. The number is congruent with
inscribed in Tibetan script. These paintings
the number of siddhi or occult powers held in the Indian
of mahasiddhas, or great perfected ones enReligions. In Tibetan Buddhist art they are often depicted
dowed with supernatural faculties (Tib. Grub
together as a matched set in works such as thangka paintchen), are located in the Lamdre chapel (Lam
ings where they may be used collectively as border decobras lha khang) on the second oor of the
rations around a central gure.
dPal khor gTsug lag khang. Bearing in mind
Each Mahasiddha has come to be known for certain charthat these murals are the most splendid extant
acteristics and teachings, which facilitates their pedagogpainted Tibetan representations of mahasidical use. One of the most beloved Mahasiddhas is Virupa,
dhas, one wonders why they have never been
who may be taken as the patron saint of the Sakyapa sect
published as a whole cycle. Several scholars
and instituted the Lamdr (Tibetan: lam 'bras) teachings.
have at times intended to study these paintVirupa (alternate orthographies: Birwapa/Birupa) lived
ings, but it seems that diculties of identiin 9th century India and was known for his great attaincation were the primary obstacle to publicaments.
tion. Although the life-stories of many of the
Some of the methods and practices of the Mahasiddha
eighty-four mahasiddhas still remain unidentiwere codied in Buddhist scriptures known as Tantras.
ed, the quality of the works nevertheless warTraditionally the ultimate source of these methods and
rants a publication of these great murals. There
practices is held to be the historical Buddha Shakyamuni,
seems to be some confusion about the numbut often it is a transhistorical aspect of the Buddha or deber of mahsiddhas painted on the walls of the
ity Vajradhara or Samantabhadra who reveals the Tantra
Lam bras lha khang. This is due to the fact
in question directly to the Mahasiddha in a vision or whilst
that the inscription below the paintings menthey dream or are in a trance. This form of the deity is
tions eighty siddhas, whereas actually eightyknown as a sambhogakaya manifestation. The sadhana of
four were originally represented. [Note: AcDream Yoga as practiced in Dzogchen traditions such as
cording to the Myang chos byung, eighty-eight

6
siddhas are represented. G. Tucci mentions
eighty-four, whereas Erberto Lo Bue assumed
that only eighty siddhas were shown, as stated
in the inscription. Cf. Lo Bue, E. F. andRicca, F. 1990. Gyantse Revisited, pp. 411
32, pls. 14760]. Of these eighty-four siddhas
painted on the walls, two are entirely destroyed
(G55, G63) and another retains only the lower
section; the name has survived (G56). Thus,
the inscribed Tibetan names of eighty-two mahasiddhas are known. Of the original eightysix paintings, eighty-four represent a cycle of
mahsiddhas (G1G84).[8]

6.1

List of the Mahasiddhas

EIGHTY-FOUR MAHASIDDHAS

24. Dukhandi, the Scavenger";

25. Ghantapa, the Celibate Bell-Ringer";
26. Gharbari or Gharbaripa, the Contrite Scholar
(Skt., pandita);
27. Godhuripa, the Bird Catcher";
28. Goraksha, the Immortal Cowherd";
29. Indrabhuti, the Enlightened Siddha-King";
30. Jalandhara, the Dakinis Chosen One";
31. Jayananda, the Crow Master";
32. Jogipa, the Siddha-Pilgrim";
33. Kalapa, the Handsome Madman";

In Buddhism there are eighty-four Mahasiddhas (an asterisk denotes a female Mahasiddha):

34. Kamparipa, the Blacksmith";

1. Acinta, the Avaricious Hermit";

35. Kambala (Lavapa), the Black-Blanket-Clad Yogin);

2. Ajogi, the Rejected Wastrel";

36. Kanakhala*, the younger Severed-Headed Sister;

3. Anangapa, the Handsome Fool";

37. Kanhapa (Krishnacharya), the Dark Siddha";

4. Aryadeva (Karnaripa), the One-Eyed";

38. Kankana, the Siddha-King";

5. Babhaha, the Free Lover";

39. Kankaripa, the Lovelorn Widower";

6. Bhadrapa, the Exclusive Brahmin";

40. Kantalipa, the Ragman-Tailor";

7. Bhandepa, the Envious God";

41. Kapalapa, the Skull Bearer";

8. Bhiksanapa, Siddha Two-Teeth";

42. Khadgapa, the Fearless Thief";

9. Bhusuku (Shantideva), the Idle Monk";

43. Kilakilapa, the Exiled Loud-Mouth";

10. Camaripa, the Divine Cobbler";

44. Kirapalapa (Kilapa), the Repentant Conqueror";

11. Champaka, the Flower King";

45. Kokilipa, the Complacent Aesthete";

12. Carbaripa (Carpati) the Petrifyer";

13. Catrapa, the Lucky Beggar";

46. Kotalipa (or Tog tse pa, the Peasant Guru";

47. Kucipa, the Goitre-Necked Yogin";

14. Caurangipa, the Dismembered Stepson";

48. Kukkuripa, (late 9th/10th Century), the Dog

Lover";

15. Celukapa, the Revitalized Drone";

49. Kumbharipa, the Potter";

16. Darikapa, the Slave-King of the Temple Whore";

50. Laksminkara*, The Mad Princess";

17. Dengipa, the Courtesans Brahmin Slave";

51. Lilapa, the Royal Hedonist";

18. Dhahulipa, the Blistered Rope-Maker";

52. Lucikapa, the Escapist";

19. Dharmapa, the Eternal Student (c.900 CE);

53. Luipa, the Fish-Gut Eater";

20. Dhilipa, the Epicurean Merchant";

54. Mahipa, the Greatest";

21. Dhobipa, the Wise Washerman";

55. Manibhadra*, the Happy Housewife";

22. Dhokaripa, the Bowl-Bearer";

56. Medhini, the Tired Farmer";

23. Dombipa Heruka, the Tiger Rider";

57. Mekhala*, the Elder Severed-Headed Sister;

6.2

Names according to the Abhayadatta Sri tradition

58. Mekopa, the Guru Dread-Stare";

6.2 Names according to the Abhayadatta

Sri tradition

59. Minapa, the Fisherman";

60. Nagabodhi, the Red-Horned Thief'";
61. Nagarjuna, Philosopher and Alchemist";
62. Nalinapa, the Self-Reliant Prince";
63. Nirgunapa, the Enlightened Moron";
64. Naropa, the Dauntless";
65. Pacaripa, the Pastrycook";
66. Pankajapa, the Lotus-Born Brahmin";

According to Ulrich von Schroeder, Tibet has dierent

traditions relating to the mahasiddhas. Among these traditions, two were particularly popular, namely the Abhayadatta Sri list and the so-called Vajrasana list. The
number of mahasiddhas varies between eighty-four and
eighty-eight, and only about thirty-six of the names occur in both lists. It is therefore also wrong to state
that in Buddhism are 84 Mahasiddhas. The correct title should therefore be Names of the 84 Mahasiddhas according to the Abhayadatta Sri Tradition. It should also be
clearly stated that only Tibetan translations of this Sanskrit text Caturasiti-siddha-pravrtti (CSP) or The Lives
of the Eighty-four Siddhas seem to have survived. This
means that many Sanskrit names of the Abhayadatta Sri
tradition had to be reconstructed and perhaps not always
correctly.

67. Putalipa, the Mendicant Icon-Bearer";

68. Rahula, the Rejuvenated Dotard";

6.3 Identication

According to Ulrich von Schroeder for the identication

of Mahasiddhas inscribed with Tibetan names it is necessary to reconstruct the Indian names. This is a very
Sakara or Saroruha;
dicult task because the Tibetans are very inconsistent
with the transcription or translation of Indian personal
Samudra, the Pearl Diver";
names and therefore many dierent spellings do exist.
When comparing the dierent Tibetan texts on mahasidntipa (or Ratnkaranti), the Complacent Misdhas, we can see that the transcription or translation of
sionary";
the names of the Indian masters into the Tibetan language
was inconsistent and confused. The most unsettling exSarvabhaksa, the Glutton);
ample is an illustrated Tibetan block print from Mongolia about the mahasiddhas, where the spellings in the text
Savaripa, the Hunter, held to have incarnated in vary greatly from the captions of the xylographs.[10] To
Drukpa Knleg;
quote a few examples: Kankaripa [Skt.] is named Kam
ka li/Kangga la pa; Goraksa [Skt.]: Go ra kha/Gau raksi;
Syalipa, the Jackal Yogin";
Tilopa [Skt.]: Ti la blo ba/Ti lla pa; Dukhandi [Skt.]:
Dha khan dhi pa/Dwa kanti; Dhobipa [Skt.]: Tom bhi
pa/Dhu pi ra; Dengipa (CSP 31): Deng gi pa / Tinggi
Tantepa, the Gambler";
pa; Dhokaripa [Skt.]: Dho ka ra / Dhe ki ri pa; Carbaripa (Carpati) [Skt.]: Tsa ba ri pa/Tsa rwa ti pa; Sakara
Tantipa, the Senile Weaver";
[Skt.]: Phu rtsas ga/Ka ra pa; Putalipa [Skt.]: Pu ta la/
Bu ta li, etc. In the same illustrated Tibetan text we nd
Thaganapa, the Compulsive Liar";
another inconsistency: the alternate use of transcription
and translation. Examples are Nagarjuna [Skt.]: Na gai
Tilopa, the Great Renunciate
dzu na/Klu sgrub; Aryadeva (Karnaripa) [Skt.]: Ka na ri
pa/Phags pa lha; and Ghantapa [Skt.]: Ghanda pa/rDo
Udhilipa, the Bird-Man";
rje dril bu pa, to name a few.[8]

69. Saraha, the Great Brahmin";

70.
71.
72.

73.
74.

75.
76.
77.
78.
79.
80.

81. Upanaha, the Bootmaker";

82. Vinapa, the Musician";
83. Virupa, the Dakini Master";
84. Vyalipa, the Courtesans Alchemist.

6.4 Concordance lists

For the identication of individual mahasiddhas the concordance lists published by Ulrich von Schroeder are useful tools for every scholar. The purpose of the concordance lists published in the appendices of his book is pri-

11 FURTHER READING

marily for the reconstitution of the Indian names, regardless of whether they actually represent the same historical
person or not. The index of his book contains more than
1000 dierent Tibetan spellings of mahasiddha names.[8]

Other mahasiddhas

Tibetan masters of various lineages are often referred

to as mahasiddhas. Among them are Marpa, the Tibetan translator who brought Buddhist texts to Tibet, and
Milarepa. In Buddhist iconography, Milarepa is often
represented with his right hand cupped against his ear, to
listen to the needs of all beings. Another interpretation of
the imagery is that the teacher is engaged in a secret yogic
exercise (e.g. see Lukhang). (Note: Marpa and Milarepa
are not mahasiddhas in the historical sense, meaning they
are not 2 of the 84 traditional mahasiddhas. However,
this says nothing about their realization.) Lawapa the progenitor of Dream Yoga sadhana was a mahasiddha.

See also
Charyapada
Gorakshanath
Matsyendranath
Twilight language

Notes

[1] David B. Gray, ed. (2007). The Cakrasamvara

Tantra: The Discourse of r Heruka (rherukbhidhna). Thomas F. Yarnall. American Institute of Buddhist Studies at Columbia University. pp. ixx. ISBN
978-0-9753734-6-0.
[2] Dowman, Keith (1984). The Eighty-four Mahasiddhas
and the Path of Tantra. KeithDowman.net. Retrieved
2015-03-21. From the Introduction to Masters of Mahamudra, SUNY, 1984.
[3] Reynolds, John Myrdhin. The Mahasiddha Tradition in
Tibet. Vajranatha. Vajranatha. Retrieved 18 June 2015.
[4] Dudjom Rinpoche (2002), p. 535
[5] Simmer-Brown (2002), p. 127
[6] H (1994), p. 85
[7] H (1994), p. 98
[8] von Schroeder (2006)
[9] Names of the 84 Mahasiddhas. Yoniversum.nl. Retrieved 2015-03-21.
[10] Egyed (1984)

10 References
Dowman, Keith (1986). Masters of Mahamudra:
Songs and Histories of the Eighty-four Buddhist Siddhas. SUNY Series in Buddhist Studies. Albany,
NY: State University of New York Press. ISBN 088706-160-5.
Dudjom Rinpoche (Jikdrel Yeshe Dorje) (2002).
The Nyingma School of Tibetan Buddhism: Its Fundamentals and History. Translated and edited by
Gyurme Dorje with Matthew Kapstein (2nd ed.).
Boston: Wisdom Publications. ISBN 0-86171-0878.
Egyed, Alice (1984). The Eighty-four Siddhas: A
Tibetan Blockprint from Mongolia. Akadmiai Kiad. ISBN 9630538350.
Gray, David B. (2007). The Cakrasamvara Tantra
(The Discourse of Sri Heruka): A Study and Annotated Translation. Treasury of the Buddhist
Sciences. Columbia University Press. ISBN
0975373463.
H, Omacanda (1994). Buddhist Art & Antiquities of Himachal Pradesh, Upto 8th Century A.D.
Indus Publishing. ISBN 9788185182995.
Simmer-Brown, Judith (2002). Dakinis Warm
Breath: The Feminine Principle in Tibetan Buddhism. Boston, Massachusetts: Shambhala Publications. ISBN 978-1-57062-920-4.
von Schroeder, Ulrich (2006). Empowered Masters: Tibetan Wall Paintings of Mahasiddhas at
Gyantse. Chicago: Serindia Publications. ISBN
978-1932476248.

11 Further reading
Downs, H. R. (1999). The Mahasiddha Linedrawings of H. R. Downs. KeithDowman.net. Retrieved
2015-03-21. Also in Dowman (1986).
Moudud, Hasna Jasimuddin (1992). The Caraypadas the Yoga Songs and Poetry of the Maha
Siddhas. A Thousand Year Old Bengali Mystic Poetry. Bangladesh: University Press. ISBN
9840511939.
Reynolds, John Myrdhin. The Mahasiddha Tradition In Tibet. Vajranatha.com. Retrieved 201503-21.
White, David Gordon (1998). The Alchemical Body:
Siddha Traditions in Medieval India (1st ed.). University Of Chicago Press. ISBN 978-0226894997.
Yuthok, Lama Choedak (1997). Lamdre: Dawn
of Enlightenment (PDF). Canberra, Australia:
Goram Publications. ISBN 0-9587085-0-9.

12

External links

The 84 Indian Adepts of Abhayadatta System

Mahasiddha: Buddhist Tantric Teachers of India

13

13
13.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Mahasiddha Source: https://en.wikipedia.org/wiki/Mahasiddha?oldid=671452723 Contributors: Andres, Technopilgrim, Carlossuarez46,

Home Row Keysplurge, Andycjp, Haiduc, Mairi, Giraedata, Ogress, Hanuman Das, Woohookitty, BD2412, Amire80, TheRingess,
FlaBot, Pigman, David Woodward, Gaius Cornelius, Sylvain1972, Seemagoel, Kungfuadam, SmackBot, MrDemeanour, BoBo, Mhss,
Bluebot, Klimov, Snowgrouse, Highpriority, DabMachine, Bisco, Ekajati, Cydebot, Eu.stefan, Thijs!bot, Klasovsky, RobotG, Bluestone55,
Alphachimpbot, Bakasuprman, B9 hummingbird hovering, R'n'B, Pharaoh of the Wizards, Johnbod, Morinae, A Ramachandran, IPSOS, Davin, Benevolent56, Cundi, SieBot, AdamHolt, Dakinijones, Msempty, Editor2020, Mitsube, Thecontemplative, Addbot, Lykos,
Sivanath, Tengu800, Lightbot, Mahasiddhadharma, Yobot, Truthirst, AnomieBOT, LilHelpa, Xqbot, Termininja, HRoestBot, Skyerise,
Theprofessordoctor, DiHri, Oshodhara, Leopold Jena, Alfredo ougaowen, ZroBot, ClueBot NG, Dream of Nyx, Helpful Pixie Bot, PhnomPencil, Marcocapelle, Joshua Jonathan, CO2Northeast, Hmainsbot1, TenzinNamdak, PizzaOven, Merigar, Totalenlightenment, The
ancient princess, Hiqi and Anonymous: 39

13.2

Images

File:Situ_Panchen._Mahasiddha_Ghantapa._From_Situ{}s_set_of_the_Eight_Great_Tantric_Adepts._18th_century,_Coll.
https://upload.wikimedia.org/wikipedia/commons/d/dc/Situ_Panchen._Mahasiddha_
_of_John_and_Berthe_Ford..jpg Source:
Ghantapa._From_Situ%27s_set_of_the_Eight_Great_Tantric_Adepts._18th_century%2C_Coll._of_John_and_Berthe_Ford..jpg
License: Public domain Contributors: http://www.academia.edu/1849580/_Lama_Patron_and_Artist_The_Great_Situ_Panchen_in_Arts_
of_Asia_March_2010_pp._82-92 Original artist: Situ Panchen

13.3

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