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.

This article examines the *Manasvi-nāgarāja-sūtra, a unique text in the rakṣā genre of Buddhist literature dating to the early centuries of the common era. In addition to exploring special features of the vocabulary and meaning of this text, the article places the *Manasvi-nāgarāja-sūtra in the wider context of Buddhist textual and ritual practice in the first, second and third centuries ce.

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.

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.

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 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.