Ká¹£itigarbha (, , Wylie: sa yi snying po) is a bodhisattva primarily revered in East Asian Buddhism and usually depicted as a Buddhist monk. His name may be translated as "Earth Treasury", "Earth Store", "Earth Matrix", or "Earth Womb". Ká¹£itigarbha is known for his vow to take responsibility for the instruction of all beings in the six worlds between the death of Gautama Buddha and the rise of Maitreya, as well as his vow not to achieve Buddhahood until all hells are emptied. He is therefore often regarded as the bodhisattva of hell-beings, as well as the guardian of children and patron deity of deceased children and aborted fetuses in Japanese culture.
Usually depicted as a monk with either a halo or a crown bearing images of the Five TathÃÂgatas around his shaved head, he carries a staff to force open the gates of hell and a wish-fulfilling jewel to light up the darkness.
Ká¹£itigarbha is one of the four principal bodhisattvas along with Samantabhadra, Manjusri, and Avalokiteà Âvara (Guanyin) in East Asian Mahayana Buddhism.
At the pre-Tang dynasty grottos in Dunhuang and Longmen, he is depicted in a classical bodhisattva form. After the Tang, he became increasingly depicted as a monk carrying Buddhist prayer beads and a staff.
His full name in Chinese is Dayuan Dizang Pusa (), or "Ká¹£itigarbha Bodhisattva of the Great Vow," pronounced Daigan Jizà  Bosatsu in Japanese, Jijang Bosal in Korean, ÃÂại Nguyá»Ân ÃÂá»Âa Tạng Vðáng Bá» Tát in Vietnamese. This name is a reference to his pledge, as recorded in the sutras, to take responsibility for the instruction of all beings in the six worlds in the era between the parinirvana of the Buddha and the rise of Maitreya. Because of this important role, shrines to Ká¹£itigarbha often occupy a central role in temples, especially within the memorial halls or mausoleums.
The story of Ká¹£itigarbha was first described in the Ká¹£itigarbha Bodhisattva Pà «rvapraá¹ÂidhÃÂna Sà «tra, a popular Mahayana sutra. This sutra is said to have been spoken by the Buddha towards the end of his life to the beings of the TrÃÂyastriá¹Âà Âa Heaven as a mark of gratitude and remembrance for his beloved mother, Maya. The Ká¹£itigarbha Bodhisattva Pà «rvapraá¹ÂidhÃÂna Sà «tra begins, "Thus have I heard. Once the Buddha was abiding in Trayastrimsas Heaven in order to expound the Dharma to his mother."
The Ká¹£itigarbha Bodhisattva Pà «rvapraá¹ÂidhÃÂna Sà «tra was first translated from Sanskrit into Chinese between 695 and 700 CE, during the Tang dynasty, by the Tripiá¹Âaka master à Âiká¹£ÃÂnanda, a Buddhist monk from Khotan who also provided a new translation of the Avataá¹Âsaka Sà «tra and the Laá¹ kÃÂvatÃÂra Sà «tra. However, some scholars have suspected that instead of being translated, this text may have originated in China, since no Sanskrit manuscripts of this text have been found. Part of the reason for suspicion is that the text advocates filial piety, which was stereotypically associated with Chinese culture. It stated that Ká¹£itigarbha practised filial piety as a mortal, which eventually led to making great vows to save all sentient beings. Since then, other scholars such as Gregory Schopen have pointed out that Indian Buddhism also had traditions of filial piety. Currently there is no definitive evidence indicating either an Indian or Chinese origin for the text.
In the Ká¹£itigarbha Sà «tra, the Buddha states that in the distant past eons, Ká¹£itigarbha was a maiden of the Brahmin caste by the name of Sacred Girl. This maiden was deeply troubled upon the death of her mother, who had often been slanderous towards the Three Jewels.
In Buddhist iconography, Ká¹£itigarbha is typically depicted with a shaven head, dressed in a monk's simple robes (unlike most other bodhisattvas, who are dressed like Indian royalty).
In his left hand, Ká¹£itigarbha holds a tear-shaped jewel or cintamani (), which is a wish-granting jewel that symbolizes enlightenment or salvation. In his right hand, he holds a Khakkhara (), which is used to alert insects and small animals of his approach so that he will not accidentally harm them as well as to open the gates of Hell. This staff is traditionally carried by Buddhist monks. Like other bodhisattvas, Ká¹£itigarbha usually is seen standing on a lotus base, symbolizing his release from rebirth. Ká¹£itigarbha's face and head are also idealised, featuring the third eye, elongated ears and the other standard attributes of a buddha. He is frequently shown wearing a plain monkâÂÂs robe and standing on a lotus base, reflecting purity and spiritual liberation.
In the Chinese tradition, Ká¹£itigarbha is often depicted wearing a Five Buddha crown (Chinese: äºÂä½Âå , pinyin: WÃÂfó GuÃÂn), which is a crown that bears the images of the Five TathÃÂgatas. His image is similar to that of the fictional character Tang Sanzang from the classical novel Journey to the West, so observers sometimes mistake Ká¹£itigarbha for the latter. In China, Ká¹£itigarbha is also sometimes accompanied by a dog. This is in reference to a legend that he found his mother reborn in the animal realm as a dog named Diting, which the Bodhisattva adopted to serve as his steed and guard.
In Japan, Ká¹£itigarbha's statues are often adorned with bibs, kerchiefs or kasa hat on his head, and sometimes dressed with a haori. Tà Âsen-ji in Katsushika, Tokyo, contains the "Bound Ká¹£itigarbha" of à Âoka Tadasuke fame, dating from the Edo period. When petitions are requested before Ká¹£itigarbha, the petitioner ties a rope about the statue. When the wish is granted, the petitioner unties the rope. At the new year, the ropes of the ungranted wishes are cut by the temple priest.
Another category of iconographic depiction is Ká¹£itigarbha as the Lord of the Six Ways, an allegorical representation of the Six Paths of Rebirth of the Desire realm (rebirth into hell, or as pretas, animals, asuras, men, and devas). The Six Paths are often depicted as six rays or beams radiating from the bodhisattva and accompanied by figurative representations of the Six Paths. Many of these depictions in China can be found in Shaanxi province, perhaps a result of Sanjiejiao teachings in the area.
A Japanese variation of this depiction is the Six Ká¹£itigarbhas, six full sculptural manifestations of the bodhisattva. An example of this can be found in Konjikidà Â, the âÂÂHall of Gold,â in the Chà «son-ji temple.
In the early Indian and Indo-Tibetan traditions, Ká¹£itigarbha (Sanskrit: à ¤Âà ¥Âà ¤·à ¤¿à ¤¤à ¤¿à ¤Âà ¤°à ¥Âà ¤Â, Tibetan:à ½¦à ½ à ½²à ¼Âà ½¦à ¾Âà ½²à ½Âà ¼Âà ½Âà ½¼ / à ½¦à ¼Âà ½¡à ½²à ¼Âà ½¦à ¾Âà ½²à ½Âà ¼Âà ½Âà ½¼, âÂÂEssence of the EarthâÂÂ) is counted among the Eight Great Bodhisattvas (byang chub sems dpaâ chen po brgyad), together with Mañjuà Ârë, Avalokiteà Âvara, VajrapÃÂá¹Âi, Samantabhadra, ÃÂkÃÂà Âagarbha, Maitreya and Sarvanëvaraá¹Âaviá¹£kambin.
The cult of the Eight Great Bodhisattvas originated in India during the early development of MahÃÂyÃÂna Buddhism and became especially popular in Central Asia and Tibet. One of the earliest surviving sources to describe their rituals and iconography is the Aá¹£á¹Âamaá¹Âá¸Âalaka-sà «tra, translated into Chinese by the esoteric master Amoghavajra (8th century). The Eight Bodhisattvas, each associated with one of the eight directions, were venerated both for spiritual blessings and for protection against disease, famine, and war. Beyond painted thangkas, images of the eight Bodhisattvas are also found on the walls of several Tibetan monasteries such as Iwang, Samding, Dolma, and Lakhang, attesting to the widespread popularity of their cult.
In the Nyingma tradition, particularly in the Longchen Nyingtik lineage, the Eight Great Bodhisattvas appear together around à ÂÃÂkyamuni Buddha in the Refuge Field (Tib. tshogs shing). This arrangement visually expresses their role as manifestations of enlightened compassion and as peaceful counterparts to the Eight Herukas of the MahÃÂyoga system.
In the Nyingma MahÃÂyoga system of Tibet, each of the Eight Great Bodhisattvas (aá¹£á¹Âa mahÃÂsattva) is considered to have a wrathful counterpart among the Eight Herukas (bkaâ brgyad), the central meditational deities of the Eight Heruka mandalas. These Herukas represent the dynamic, transformative aspects of the same enlightened principles embodied in the peaceful Bodhisattvas of the MahÃÂyÃÂna.
Ká¹£itigarbha appears as Lokastotrapà «jÃÂ-nÃÂtha (Tib. à ½ à ½Âà ½²à ½Âà ¼Âà ½¢à ¾Âà ½ºà ½Âà ¼Âà ½Âà ½Âà ½¼à ½Âà ¼Âà ½Âà ½¦à ¾Âà ½¼à ½Âà ¼ âÂÂJig rten mchod bstod ), one of the Eight Great Herukas (à ½Âà ½Âà ½ à ¼Âà ½Âà ½¢à ¾Âà ¾±à ½Âà ¼ Kagyed) â specifically the deity of âÂÂMundane or Worldly PraisesâÂÂ. This wrathful Ká¹£itigarbha is depicted dark blue in colour, with a fierce expression, adorned with bone ornaments, and surrounded by flames of pristine awareness. the right face yellow, the left purple. six arms, four legs, and two wings. holds a vajra and a skull bowl (kapÃÂla). He embodies the dynamic, protective energy of the awakened Earth and is invoked to pacify the disturbances of the subterranean and earthly spirits.
According to Rob Mayer (2012), the Nyingma tradition classifies Lokastotrapà «jÃÂnÃÂtha (âÂÂJig rten mchod bstod) as one of the Eight Great Herukas (bkaâ brgyad). Although its name literally means âÂÂWorldly Offerings and PraisesâÂÂ, it is not considered a mundane spirit, but an enlightened manifestation of Heruka that subdues worldly forces. Mayer, citing Rang âÂÂbyung pad ma snying thig by Dilgo Khyentsé Rinpoche, clarifies that these âÂÂThree Mundane Deitiesâ (âÂÂJig rten paâÂÂi sde gsum) are regarded as transcendent aspects of enlightenment, equal in status to the âÂÂFive Wisdom DeitiesâÂÂ.
Unlike the later East Asian representations of Ká¹£itigarbha as a monk with a pilgrimâÂÂs staff, in the Indo-Tibetan context he appears as a young Indian prince, richly adorned with the silks, jewels, and long hair characteristic of the sambhogakÃÂya bodhisattvas.
In Tibetan iconography he is usually white in color, sometimes described as green-blue in tantric sources such as The Great Chariot (âÂÂGro ba chen poâÂÂi shing rta chen po). He is portrayed as peaceful, smiling, and compassionate, with one face and two hands:
He is seated in a half-lotus posture, radiating gentle light.
Kṣitigarbha is also mentioned in several ritual texts associated with Prithvë Devë, the Earth goddess, invoked for agricultural prosperity and the protection of crops. In those texts he appears only as a companion deity, representing the male or awakened aspect of the Earth principle. In these practices, the goddess is described as yellow in colour, with her upper body bare, holding a jewel and a vase; while Kṣitigarbha is depicted as white, dressed in bodhisattva attire, holding a sprout in the right hand and a bell in the left, seated in a half-lotus posture.
In the Mandala of the Forty-Two Peaceful Deities described in the Bardo Thödol (Tibetan Book of the Dead), Kṣitigarbha is depicted seated to the right of Vajrasattva-Akṣobhya, in the eastern direction, associated with the vajra family, the water element, and the mirror-like wisdom (me long ye shes). In this mandalic context, his color corresponds to the blue or white hue of the vajra family, depending on the lineage and interpretive system
Because there are few Tibetan tantric texts or sÃÂdhana cycles devoted specifically to him, Ká¹£itigarbha does not have a fixed iconography in Tibetan art. His depictions may vary between white, green-blue, or jewel-blue, reflecting both symbolic and regional interpretations.
In certain Chinese Buddhist legends, the arhat Mulian (ç®é£) acts as an assistant to Ksitigarbha, known as Dizang, in his vow to save the denizens of hell. As a result, Mulian is usually also venerated in temples that enshrine Dizang. In folk beliefs, Dizang has a mount called Diting, who is a divine beast that can distinguish good from evil, virtuous and foolish. In iconographic form, it is often enshrined at the side of Ksitigarbha, or portrayed with Ksitigarbha riding on its back as a mount.
Due to his scriptural row as a saviour of hell-beings and his vow of not attaining Buddhahood until the hells are empty, Dizang is commonly invoked in Chinese Buddhist rituals involving the salvific liberations of sentient beings in saá¹ÂsÃÂra, such as the Yujia Yankou rite and the Shuilu Fahui ceremony.
In some areas, the admixture of traditional religions has led to Ká¹£itigarbha being also regarded as a deity in Taoism and Chinese folk religion. () are Taoist temples that usually enshrine Ká¹£itigarbha as the main deity, along with other gods typically related to the Chinese netherworld Diyu, such as Yanluo Wang and Heibai Wuchang. Believers usually visit these temples to pray for the blessings of the ancestors and the souls of the dead. The 30th day of the seventh month of the Chinese calendar is celebrated as his birthday.
In modern East-Asian and Chinese sources a related notion of blue radiance appears. During the English translation (1959) of the Ká¹£itigarbha Bodhisattva Pà «rvapraá¹ÂidhÃÂna Sà «tra, translator Pitt Chin Hui reported the appearance of âÂÂelectric-blue lightâ in the locked shrine of Ká¹£itigarbha at Poh Ern Si Temple, Singapore, and noted that âÂÂKá¹£itigarbha BodhisattvaâÂÂs colour is a jewel blue of the shade referred to in modern times as electric blue.â The vision recalls older textual images comparing the BodhisattvaâÂÂs eyes to blue-lotus petals (utpala), and can be interpreted as a poetic expression of his association with the vajra familyâÂÂs blue-white luminosity rather than a literal bodily colour.
The GuÃÂn Dìzàng PúsàGà Ângdé Jëng (è§Âå°èÂÂè©è©åÂÂå¾·ç¶Â, Sà «tra on the Contemplation of the Merits of Ká¹£itigarbha), Taishà  vol. 13 no. 412, describes Ká¹£itigarbha emitting âÂÂa blue lotus light illuminating the ten directionsâ (æ¾éÂÂè®å ÂæÂÂéÂÂç §åÂÂæ¹).
Chinese Buddhist traditions hold that Mount Jiuhua, one of the Four Sacred Mountains of China, was chosen by Dizang himself to serve as his bodhimaá¹Âá¸Âa. These traditions stem from historical accounts from biographical sources such as the Jiuhua shan Huacheng si ji (ä¹Âè¯山åÂÂÃ¥ÂÂ寺è¨Â, lit: "Record of Huacheng Monastery on Mt. Jiuhua") by Fei Guanqing (è²»å å¿, active circa 9th century) and the Song gaoseng zhuan (å®Âé«Âå§å³, lit: "Biographies of Eminent Monks of the Song dynasty") by the scholar monk Zanning<sup>]</sup> (è´Â寧, 919-1001).
During the Tang dynasty (618-709), Buddhism flourished and spread widely across China, eventually spreading to Korea. At the time, monks and scholars arrived from those countries to seek the dharma in China. One of these pilgrims was a former prince from Silla named Kim Gyo-gak, who became a monk under the Chinese name Dizang ("Ká¹£itigarbha"), pronounced Jijang in Korean. He went to Mount Jiuhua in present-day Anhui. After ascending, he decided to build a hut in a deep mountain area so that he could cultivate the dharma. At one point, the goddess of Mount Jiuhua transformed herself into a scorpion and stung Jijang seriously. However, he remained unaffected and continued his practice without interruption. Touched by his perseverance and religious piety, the goddess eventually manifested herself before Jijang and apologized to him, providing him with a medicinal antidote and fresh spring water for his use.
For a few years, Jijang continued to meditate in his hut, until one day, a local nobleman surnamed Zhuge (諸èÂÂ) led a group of friends and family to visit the mountain. Noticing the monk meditating in the hut, they went and took a look at his condition. They had noticed that his bowl did not contain any food, and that his hair had grown back. Taking pity on the monk, Zhuge decided to build a temple as an offering to him. The whole group descended the mountain immediately to discuss plans to build the temple. Mount Jiuhua was also property of a wealthy person named Minrang (éÂÂè®Â), who obliged to build a temple on his mountain. Therefore, Minrang and the group ascended the mountain once more and asked Jijang how much land he needed. Jijang replied that he needed a piece of land that could be covered fully by his kasaya. Initially believing that a piece of sash could not provide enough land to build a temple, they were surprised when Jijang threw the kasaya in the air, and the robe expanded in size, covering the entire mountain. Minrang then decided to renounce the entire mountain to Jijang, and became his protector. Sometime later, Minrang's son also left secular life to become a monk.
Jijang lived in Mount Jiuhua for 75 years before dying at the age of 99. Three years after his nirvana, his tomb was opened, only to reveal that the body had not decayed. Because Jijang led his wayplace with much difficulty, most people had the intuition to believe that he was indeed an incarnation of Dizang. Jijang's well-preserved, dehydrated body may still be viewed today at the Shrine of the Living Buddha on Mount Jiuhua.
In Japan, Ká¹£itigarbha, known as Jizà Â, or respectfully as Ojizà Â-sama, is one of the most loved of all Japanese divinities. According to legend, the first Jizà Â-statue was introduced in Japan in the reign of emperor Shà Âmu in the Nara period. However, while records exist that indicate a Jizà Â-statue in the Tà Âdai-ji, the existence of these statues in former times is probable but no evidence has yet been discovered. Jizà ÂâÂÂs worship developed significantly and became more widespread in Japan during the Heian (794âÂÂ1185) and Kamakura (1185âÂÂ1333) periods. During these periods, people were afraid of the period that is known as mappà Â, the decline and disappearance of Dharma, which was propagated by Pure Land Buddhism as a period in which it is impossible to understand the original Buddhist teachings anymore and attain enlightenment through traditional means. This foundation supported the role among people of Ká¹£itigarbha as he helped those who were in danger of falling into hell realm in hearing their confessions and to ensure their salvation. One of the widespread practices of Ká¹£itigarbha-worship in Japan was the citation and copying of the Lotus Sutra as it promised benefits in the present and future. Ká¹£itigarbha satisfied those immediate needs and the mundane wishes of worshippers to the extent of delivering them to the Pure Land of Amida in the times of declining Dharma. The Konjaku Monogatarishà « includes many tales about him and another collection of tales, Jizà  Bosatsu Reigenki, consists of twenty-five stories that focus on miracles performed by Jizà Â. The devotees described in these stories recite the Lotus Sutra.
The statue at Kenchà Â-ji Temple, crafted in the 15th century, signifies the longstanding tradition of enshrining Jizà  where the doomed or suffering were memorialized. Artistic examinations, such as Hank GlassmanâÂÂs The Face of Jizà Â, reveal how medieval Japanese society integrated Jizà  imagery into both elite and folk religious practice, blending Buddhist doctrine with local traditions and boundary guardian cults (like Dà Âsojin).
In contemporary Japan, His statues are a common sight, especially by roadsides and in graveyards. Jizà  is celebrated as the protector of children (including deceased and unborn), travelers, pilgrims, and the souls suffering in the realms of the dead. He is usually depicted as a humble monk holding a staff with six rings and a wish-fulfilling jewel.
The Ryà Âki (c. 822 CE), the earliest known collection of setsuwa or tales, contains a story about Fujiwara Hirotari. After he dies he catches sight of his wife suffering in the Land After Death, and with the aid of Jizà  he returns to life and lifts the burden of suffering from his wife by copying the Lotus Sutra.
In the common tradition associated with the , the banks of the Sanzu River, Jizà  is portrayed as the protector of the souls of dead children, who are condemned to stack piles of stones, in vain, since the piles are repeatedly toppled by oni or demons. In a later version recorded by Lafcadio Hearn, the oni not only wreck the stone piles, but torment the children, who find refuge in Jizà Â's robes. In an earlier version, found in the , c. 1600 or earlier when the dead children pile stones at the Sai no Kawara, winds and flames are the agents knocking down the stone piles, and the flames reduce the children to cremated bones, to be revived by Jizà  (or by the oni).
This concept of Sai no Kawara, or children's limbo, first appeared in the Otogizà Âshi during the Muromachi Period, and the "Tale of the Fuji Cave", discussed above, is part of the Otogizà Âshi. However, the concept had been developed much earlier, being associated with the priest Kà «ya in the 10th century. The legend was then connected with Kà «ya and his wasan, or chanting, probably some time in the 17th century, creating the Jizà  wasan. As for the identification of certain this-worldly features with the Sai no Kawara, as on the mountain Osorezan in northeastern Japan, the establishment of Jizà  worship there occurred during the late Tokugawa Period, in the early to mid-18th century, despite temple pamphlets (engi, or accounts of the founding of temples) claiming that it dates back to the 9th century, when the priest Ennin supposedly established a place of worship for Jizà  at Osorezan, then known as Usorizan.
Jizà  is also worshipped as the guardian of the souls of mizuko ("water children"), stillborn, miscarried, or aborted children, in the ritual of . In this context, he is worshipped under the form of Mizuko Jizà Â.
Statues of Jizà  are sometimes accompanied by piles of stones placed on or by them in the hope that the time that dead children have to suffer in the underworld may be shortened. The practice is derived from the tradition of building stupas as an act of merit-making. Jizà  is seen as the guardian of children in general, but in particular of children who died before their parents. Statues of Jizà  can sometimes be seen wearing children's clothing or bibs, or with toys brought by grieving parents to help their lost ones, in the hope that Jizà  will protect them. Sometimes the offerings are given by parents to thank Jizà  for saving their children from serious illness. Jizà Â's features are commonly made to resemble those of the children he protects.
Lit. = Jizà  without a Jaw. Also known as Shitsu Heiyu æ¯çÂÂå¹³çÂÂå°èµ (Jizà  who Heals Toothaches). Says Gabi Greve:
Jizà  is also believed to be one of the protective deities of travellers, the dà Âsojin, and roadside statues of Jizà  are a common sight in Japan. Firefighters are also believed to be under his protection.
In Theravada Buddhism, the story of a bhikkhu named Phra Malai with similar qualities to Ká¹£itigarbha is well known throughout Southeast Asia, especially in Thailand and Laos. Legend has it that he was an arhat from Sri Lanka who achieved great supernatural powers through his own merit and meditation. He is also honoured as a successor to MahÃÂmoggallÃÂna, the Buddha's disciple foremost for his supernatural attainments. In the story, this pious and compassionate monk descends to Hell to give teachings and comfort the suffering hell-beings there. He also learns how the hell-beings are punished according to their sins in the different hells.
In mainstream Chinese Buddhism and Japanese Shingon Buddhism, the mantra of Ká¹£itigarbha comes from the "Treasury of Mantras" section of the Mahavairocana Tantra. The effect of this mantra is producing the "Samadhi Realm of Adamantine Indestructible Conduct." This mantra is the following:
Om! Ha ha ha! O wondrous one! svÃÂhÃÂ!