Abstract

An abiding concern of Mahāyāna Buddhists has been the accessibility of a buddha’s power in the world.1 Some Buddhists, notably philosophers and their commentators, have grappled with the very coherence of such a possibility. Viewing the question from a logical perspective, it has been necessary for such systematic thinkers to reconcile the apparent inconsistency ensuing from the two essential qualities deemed definitive of a buddha. A buddha is one who, by virtue of his awareness of the nature of reality, is completely liberated from the life-impelling force of mental defilements, and is thus beyond the scope of our world; and he is one who, by virtue of his profound compassion, is naturally compelled to continue engagement with beings still delusively ensnared in the world. Logically, these two qualities are at odds. Not all Buddhists, however, have sought a solution to the dilemma of accessing a buddha’s power on the basis of logical or epistemological theory. Some Buddhists have, rather, sought an imaginative-cultic solution. Relics, statues, paintings, architectural monuments, books, remembrance, meditation, guru veneration, and visualization have, at various times and in various places, been held to be the most effective means of rendering present the otherwise inaccessible or obscured power that accompanies a buddha. In this article, I trace the idea of the mantra as a vehicle of enlightened presence as it was presented to Indian Mahāyāna Buddhists in the medieval period.