Intangible Culture ISSN:2799-3868(Print) 무형문화연구

The Nāmasaṃgīti is a Buddhist tantric text that praises the names and virtues of Mañjuśrī, presenting itself as part the Māyājālatantra. While Bu ston classified it within the Vairocana family of the Anuttarayoga(father) tantras, its content actually aligns more closely with the Yoga tantras in the lineahe of the Tattvasaṁgraha. Its close relationship with the Kālacakratantra elevated its authority, eventually earning it the position of opening the Buddhavacana section of the Tibetan canon. The core of the text consists of verses praising Mañjuśrī as equivalent to the dharmakāya, Mahāvairocana. This reflects an expansion and deepening of the early Mahāyāna belief in Mañjuśrī as the parent of all bodhisattvas. The practice of listening numerous epithets to praise a single deity is itself not unique to esoteric Buddhism-it echoes the Hymn of 108 Names found in the Tattvasaṁgraha’s praaise of Vairocana, as well as the Viṣṇu hymn in the Mahābhāirata, both reflecting an ancient Indian literary tradition later absorbed into Buddhism. Beginning with Mañjuśrīmitra’s commentary in the mid-eighth century, this originally undivided section of praise was reorganized into eight sections-from ① the contemplation of the six families through ⑧the wisdom of accomplishing action(one of the five wisdoms)- reflecting an esoteric structure in which sentient beings are classified into six families for liberation, the Vajradhātu maṇḍala is generated through the Māyājāla method, and the five wisdoms of buddhahood are revealed. On this basis, three lineages emerged: the Stainless Space of Mañjuśrī lineage founded by Mañjuśrīmitra, the Mañjuśrī possessed of Secrets lineages Agrabodhi, and the Sovereign of the Dharmadhātu lineages Mañjuśrīkīrti. The first two lineages share a layered meditative process-Mahāvairocana, the Ādibuddha, the Prajñācakra, and the Jñānasattva-combined with a visualization technique that transforms scriptural syllables into deities, thereby integrating maṇḍala contemplation with the recitation of names; each transmits maṇḍala of 33 and 57 deities, respectively. The Sovereign of the Dharmadhātu lineage, by contrast, follows an independent system based on the five-stage enlightenment(pañcābhisaṁbodhi) of the Tattvasaṁgraha, transmitting an elaborate maṇḍala of over 200 deities. Thus, although originally a text meant for recitation, the Nāmasaṃgīti was developed by later lineages into distinct meditative systems and maṇḍala iconographies, illustrating how a single scripture could be variously reinterpreted across different periods and traditions, expanding its authority and ritual significance.