Visual Analysis of Simhavaktra Dakini

Simihavaktra Dakini

Buddhism began in the 6th century BC with the teachings of Siddhartha Gautama, who took the name Buddha after reaching enlightenment (Dhammananda 2002,-page 36). A wealthy prince went on a journey for several years in search of truth and discovered it while sitting beneath a bodhi tree. Unlike most religions which expect acceptance of dogma without question, practitioners of Buddhism are encouraged to "think freely and wisely and work out their own salvation" (Dhammananda 2002,-page 36). In this period of time, the world is in a constant state of alert with everyone worrying about war, murder, disease, and a plethora of other concerns. Buddhism appeals to the Western world because the teachings encourage peace, reflection, and self-understanding. It does not give answers or explanations like Christianity. Buddha never claimed to be Divine. Instead, these teachings are designed to show the path to self-actualization and enlightenment (Dhammanada 2002,-page 37). For Buddhists, there is no right way or wrong way to personal happiness. Rather good actions bring happiness and negative actions yield unhappiness.

One of the iconic symbols of the Buddhist religions is the Simihavaktra Dakini. It is an image that reflects one of the stories of the past lives of the Buddha. This particular statue of the Simihavaktra Dakini is part of the San Francisco Asian Art Museum. The artwork is from Tibet and is assumed to have been created in the 18th century. It is constructed of highly lacquered wood which gives the sculpture a shiny finish. This particular example of the Dakini is interesting in that the artist has depicted this iconic figure as part animal and part woman, showing a figure that is both powerful and nurturing.

The statue portrays a female figure, but she is devoid of the traditional aspects that one would associate with femininity. Her face is that of a lion, not a feminine human woman. The expression on this face is also unique. The eyes are staring ahead, directly at the viewer of the figure. The mouth is fanged and yet poised in what can be interpreted as a smile. This would seem to illustrate that woman and by extension the Buddha was capable of destruction and death, but chose not to utilize their skills in this. She does not have breasts or pronounced hips that would make it obvious that this is a woman. What does make the gender visible is the design of the figure's hands. Her fingers are carefully constructed and the hands are decidedly delicate and posed in fluid and feminine mannerisms. She is also decked in jewelry and adornment as would be befitting a royal or someone who has massive wealth. This is contradictory to the lessons of the Buddha where simplicity is advocated rather than the ostentatious.