430 charles d. orzech
as well as offensive and necromantic rites based on the traditions of
the śītavana using cremation shrouds, human bones, flesh and blood
for the painting of pata. The Beishan Mārīcī is clearly drawn from
this more abundant iconography. Virtually every element of Mārīcī’s
iconography here including her faces, implements, smile, chariot, boar
vehicle, and so forth can be found in Devaśāntika’s text. Although we
cannot completely rule out the possibility of an alternative source, her
image at Beishan argues for the circulation of Devaśāntika’s transla-
tion and it suggests that recently translated scriptures did circulate.
But Mārīcī moved even beyond Buddhist settings. Sometime in the
late Song or early Yuan Mārīcī begins to appear in Daoist texts as
the “Dipper Mother” (Dou mu ), an association that may have
been enabled by Mārīcī’s long association with the dipper.^39 The rela-
tionship between Dou mu and Mārīcī is hardly secret. The Xiantian
Doumu zou gao xuan ke specifically calls Dou mu
Mārīcī^40 and the Xiantian leijing yin shu juan pres-
ents her “heart mantra”^41 that Capitanio has noted is derived from
Amoghavajra’s brief text on Mārīcī (Molizhi pusa lue niansong fa
T. 1258).^42 Her iconography, however, is certainly
not from a Tang text and must postdate Devaśāntika’s translation, as it
details her three faced eight armed version with bows, arrows, and boar
chariot.^43 She represents an excellent example not only of the circula-
tion of the text of Devaśāntika or of icons drawn from it, but also of
the broader impact of the texts and practices of esoteric Buddhism.
(^39) There are a variety of texts concerning Dou mu in the Daozang, the earliest
including the Doumu da sheng yuan jun benming yan sheng xin jing
( DZ 621) are of Late Song vintage, the rest from the Yuan
and Ming. Schipper dates this texts tentatively to the Southern Song (1127–1279). See
Schipper and Verellen 2004, 2:952. 40
DZ 1452, 34.769a. The text is possibly of Yuan (1279–368) vintage. See Schipper
and Verellen, 2: 1234. 41
The text is attributed to Wang Wenqing and is part of a corpus of texts
connected with the Five Thunder tradition (Wulei fa ). It may be as early as
the Southern Song. See Schipper and Verellen 2004, 2:1107–1108.
(^42) See Capitanio, “Esoteric Buddhist Elements in Daoist Ritual Manuals of the Song,
Yuan, and Ming,“ in this volume. The correspondence between the mantra here and
the one in Amoghavajra’s text is not exact and the text labels another mantra than the
one so labled in the Buddhist text as her “heart mantra.”
(^43) It is loosely based on T. 1257.21.269a25ff., 272c22ff., etc.