Multiple copies of a particular clay sealing bearing the Buddhist Bodhigarbhālaṅkāralakṣa-dhāraṇī (mantra) inscription were discovered in Gua Berhala—a cave in Perlis, Malaysia. These sealings can be roughly assigned to the tenth century and they appear to have been stamped with an identical seal. However, critical reading of the textual rendition of the dhāraṇī had not yet been done despite several attempts to study it. Therefore, based on several fragments of these sealings, this article provides a detailed reading and translation of the dhāraṇī and considers the cultural significance of their production. The article also examines the textual structure of this Perlis dhāraṇī and compares it with similar dhāraṇīs preserved in a palm-leaf manuscript and other materials found across Asia. This includes a survey on the wider transmission of the dhāraṇī in the continent. In this comparative exercise, the physical characteristics of the Perlis sealing appear to be unique and express a distinct artistic style, while its textual tradition is slightly compressed compared with others, with no identical equivalent found elsewhere. This observation suggests that Perlis, with its proximity to the Bujang Valley, participated in the wider network of dhāraṇī culture rooted in Eastern India and was just not a passive recipient of this practice.

This paper attempts both to transliterate and translate a newly published Sanskrit fragment of the Hastikakṣyasūtra and compare it to its corresponding Chinese and Tibetan translations. This fragment is part of the Hoernle Collection housed in the British Library. Through a comparison of all extant titles of this text found in both the Chinese and Tibetan versions and their reconstruction in Sanskrit, this work further deciphers why some titles use the metaphor of the effort or power of an elephant. In analysing the Chinese and Tibetan versions, this paper suggests that the content and structure of this text shed some light on the early development of Mahāyāna sūtras.

This article examines a group of ten Indonesian inscriptions citing a range of gāthās, mantras and dhāraṇīs. The texts, contextualized and in some cases read and identified for the first time, underline the pan-Asian character of Buddhism and the integral place the Indonesian archipelago once held in the ancient Buddhist world. The identification of the sources of several of these texts in known Sanskrit scriptures raises the question whether some of these texts, none of which survives as such in the archipelago, were once transmitted there in manuscript form.

Within the wider esoteric Buddhist tradition, this paper examines visions and soteriological goals in dhāraṇī practice by looking at the early instructions that are preserved in multiple Chinese translations. A number of different but not mutually exclusive ritual scenarios are presented in these materials. Here I will focus on two specific scenarios, namely dhāraṇī practices with and without visionary confirmation.

The paper discusses a group of dhāraṇīs associated with the seven days (saptavāra) of the week, with each dhāraṇī being recited on a specific day. The visual forms of the dhāraṇīs were represented in miniature paintings in manuscripts of the saptavāra texts and in woodcarvings on the struts of two Newar Buddhist monasteries in Kathmandu. The paper shows that even though two members of the saptavāra group were originally male, eventually all members came to be conceived of as feminine in Nepal. It further provides evidence that the group is likely to have become known in Nepal by at least the late sixteenth century.

This paper examines two tenth-century woodblock prints from Dunhuang acquired by Sir Aurel Stein. They are registered under the numbers Ch.00151 and Ch.00152 at the British Museum. The first, Ch.00151, is dedicated to Avalokiteśvara and the second, Ch.00152, to Amitābha, both with magical formulas written in Siddham characters in square or circular fashion around the central image of the respective deity. Editions, translations and identifications of the texts are presented along with a study of the Chinese inscriptions on the side of the xylographs. It is shown that these two objects were apparently produced to serve as amulets.

This article is one of a series that reassesses the dhāraṇī texts of Mahāyāna Buddhism. The article seeks to examine dhāraṇī texts by using the linguistic tools of pragmatics, especially historical pragmatics, to assist the understanding of their statements. Rather than the meaning of the term dhāraṇī as a subject term, the domain of truth-conditional semantics, this paper examines statements in texts labelled dhāraṇī. Pragmatics examines meaning in context, and the categories of speech acts developed by Searle has been especially helpful in mapping out differences within such texts and the formalization of statements across texts. The grammaticalization of specific speech elements, especially interjections, in the context of mantra-dhāraṇīs is also discussed.