Mei Hua
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Lohan is a Buddhist holy one, akin to a saint. Lohan is a translation of the Sanskrit word Arhat which means worthy one. The Lohan figures prominently in Chan Buddhism, perhaps due to the Chan penchants for the human side of attaining liberation. Unlike the Bodhisattva who strives to free all sentient beings of delusion, the Lohan focuses primarily on their own salvation.
In Chinese Buddhism, there are usually 18 main Lohan, with a total order of 500 Lohan, theoretically, no less than 500 disciples of Buddha may in the fullness of time, become Buddhas themselves.
Each Lohan has a unique physical characteristic and magical powers.
Researching the Lohan is difficult, because like so many things Chinese, they are not standardized. Known as Rakan in Japanese or Sthaviras in Tibetan, most cultures depict only 16 Lohan, China added two, though not consistently. The seventeenth and eighteenth vary widely depending on the source, sixteen of the Lohan are Indian in origin.
The 18 Lohan, in some ways, correspond to the Taoist 8 Immortals. According to legend, they cross the seas, and as in the case of the Immortals, each of them is associated with a particular attribute.
The Lohan (Arhat Boxing) style evolved from exercises taught by Tamo (Boddhidharma), the one who brought Chan Buddhism into China. It is told that after spending nine years in meditation, Tamo created the Lohan exercises upon seeing the poor health of the monks at the Shaolin Temple, the exercises were designed to improve stamina, endurance, constitution, and as a way to focus the mind and body into unity in the study of Buddhism and enlightenment. Self-defence had been taught at the Shaolin Temple since its creation, but the monks came to realize the uniqueness of the Lohan stances, techniques, postures, and movements as well as seeing how effective these same were when it came to defending themselves, and this was done many times when traveling abroad to spread Buddhism throughout China and in defending the temple from bandits. From that point the Shaolin monks worked to develop the Lohan system and to refine and
improve their techniques which was helped along by martial artists of various styles that came to the temple to study Buddhism and in return for what they learned they taught their own martial techniques to the monks. As the years passed the monks would continue to refine their style and the techniques they borrowed from other styles so that the Lohan system became an effective and decisive martial art, earning them the title of Iron Lohan's. At the height of their power, it is told that one monk was the equivalent of 1000 regular warriors, while this may be legend it is a historical fact that the Shaolin monks accomplished tremendous feats on the battle field against their opponents numerous times.
THE 18 LOHAN
These eighteen Lohan are from the other important Buddhist temple in Honan, perhaps the most venerable in all
China, Baimasi (White Horse Temple).
Pindola-Bharadvaja: One of four great Bhikshus, entrusted by Buddha to propagate the teachings. Depicted
with folded arms and long eyebrows, often in a cave in meditation. Retains 1000 Arhats.
Kanaka-Vatsa: Depicted seated, comprehending all systems, both good and bad. Retains 500 Arhats.
Kanaka-Bharadvaja: The second Pindola. Depicted seated, often bowing or an old hairy man. Retains 600
Arhats.
Subinda: Depicted seated, holding a sacred book in his left hand and snapping his fingers with his right hand,
symbolizing sudden enlightenment. Retains 800 Arhats.
Nabula: Depicted teaching, sometimes with a mongoose or a young boy, occasionally with a three-legged frog,
like the Taoist Immortal Liu Hai. Retains 800 Arhats.
Bhadra: Cousin of Tamo. Depicted in a Buddhist pose, sometimes taming a tiger with his hands in a mudra or
with prayer beads. Retains 900 Arhats.
Kalika: The Lion King. Depicted with big eyebrows, holding a lion or leaf. Retains 1000 Arhats.
Vajraputra: Usually depicted as a hairy gaunt man. Retains 1100 Arhats.
Svapaka: A eunuch. In Sanskrit, Svapaka refers to the lowest Indian caste, the untouchables. Eunuchs were
considered low caste, despite their eventual political might. Depicted holding a book or fan. Retains 900 Arhats.
Panthaka: Depicted seated, often holding a scroll or subduing a dragon. Retains 1300 Arhats.
Rahula: Son of Tamo and one of the four great Bhikshus. Depicted with a prominent forehead, bushy eyebrows
and pointed nose. Retains 1100 Arhats.
Nagasena: Depicted with prominent eyebrows. Retains 1200 Arhats.
Ingada: Depicted holding a book, staff, or sacred item. Often jolly and plump. Retains 1300 Arhats.
Vanavasi: Often depicted with gaunt features, from suffering in hell. Retains 1400 Arhats.
Ajita: Sometimes believed to be an incarnation of Maitreya Buddha. Depicted seated, holding a staff or scroll.
Retains 1500 Arhats.
Cudapanthaka: Younger brother of Panthaka. Depicted holding a fan or staff topped with a rabbit head.
Retains 1600 Arhats.
Kundopadhaniya: One of the four great Bhikshus.
Kasyapa: First patriarch following Buddha and one of the four great Bhikshus. Once, instead of preaching,
Buddha held up a flower in silence, Kasyapa smiled, signifying transmission and beginning of Chan/Zen.
In Chinese Buddhism, there are usually 18 main Lohan, with a total order of 500 Lohan, theoretically, no less than 500 disciples of Buddha may in the fullness of time, become Buddhas themselves.
Each Lohan has a unique physical characteristic and magical powers.
Researching the Lohan is difficult, because like so many things Chinese, they are not standardized. Known as Rakan in Japanese or Sthaviras in Tibetan, most cultures depict only 16 Lohan, China added two, though not consistently. The seventeenth and eighteenth vary widely depending on the source, sixteen of the Lohan are Indian in origin.
The 18 Lohan, in some ways, correspond to the Taoist 8 Immortals. According to legend, they cross the seas, and as in the case of the Immortals, each of them is associated with a particular attribute.
The Lohan (Arhat Boxing) style evolved from exercises taught by Tamo (Boddhidharma), the one who brought Chan Buddhism into China. It is told that after spending nine years in meditation, Tamo created the Lohan exercises upon seeing the poor health of the monks at the Shaolin Temple, the exercises were designed to improve stamina, endurance, constitution, and as a way to focus the mind and body into unity in the study of Buddhism and enlightenment. Self-defence had been taught at the Shaolin Temple since its creation, but the monks came to realize the uniqueness of the Lohan stances, techniques, postures, and movements as well as seeing how effective these same were when it came to defending themselves, and this was done many times when traveling abroad to spread Buddhism throughout China and in defending the temple from bandits. From that point the Shaolin monks worked to develop the Lohan system and to refine and
improve their techniques which was helped along by martial artists of various styles that came to the temple to study Buddhism and in return for what they learned they taught their own martial techniques to the monks. As the years passed the monks would continue to refine their style and the techniques they borrowed from other styles so that the Lohan system became an effective and decisive martial art, earning them the title of Iron Lohan's. At the height of their power, it is told that one monk was the equivalent of 1000 regular warriors, while this may be legend it is a historical fact that the Shaolin monks accomplished tremendous feats on the battle field against their opponents numerous times.
THE 18 LOHAN
These eighteen Lohan are from the other important Buddhist temple in Honan, perhaps the most venerable in all
China, Baimasi (White Horse Temple).
Pindola-Bharadvaja: One of four great Bhikshus, entrusted by Buddha to propagate the teachings. Depicted
with folded arms and long eyebrows, often in a cave in meditation. Retains 1000 Arhats.
Kanaka-Vatsa: Depicted seated, comprehending all systems, both good and bad. Retains 500 Arhats.
Kanaka-Bharadvaja: The second Pindola. Depicted seated, often bowing or an old hairy man. Retains 600
Arhats.
Subinda: Depicted seated, holding a sacred book in his left hand and snapping his fingers with his right hand,
symbolizing sudden enlightenment. Retains 800 Arhats.
Nabula: Depicted teaching, sometimes with a mongoose or a young boy, occasionally with a three-legged frog,
like the Taoist Immortal Liu Hai. Retains 800 Arhats.
Bhadra: Cousin of Tamo. Depicted in a Buddhist pose, sometimes taming a tiger with his hands in a mudra or
with prayer beads. Retains 900 Arhats.
Kalika: The Lion King. Depicted with big eyebrows, holding a lion or leaf. Retains 1000 Arhats.
Vajraputra: Usually depicted as a hairy gaunt man. Retains 1100 Arhats.
Svapaka: A eunuch. In Sanskrit, Svapaka refers to the lowest Indian caste, the untouchables. Eunuchs were
considered low caste, despite their eventual political might. Depicted holding a book or fan. Retains 900 Arhats.
Panthaka: Depicted seated, often holding a scroll or subduing a dragon. Retains 1300 Arhats.
Rahula: Son of Tamo and one of the four great Bhikshus. Depicted with a prominent forehead, bushy eyebrows
and pointed nose. Retains 1100 Arhats.
Nagasena: Depicted with prominent eyebrows. Retains 1200 Arhats.
Ingada: Depicted holding a book, staff, or sacred item. Often jolly and plump. Retains 1300 Arhats.
Vanavasi: Often depicted with gaunt features, from suffering in hell. Retains 1400 Arhats.
Ajita: Sometimes believed to be an incarnation of Maitreya Buddha. Depicted seated, holding a staff or scroll.
Retains 1500 Arhats.
Cudapanthaka: Younger brother of Panthaka. Depicted holding a fan or staff topped with a rabbit head.
Retains 1600 Arhats.
Kundopadhaniya: One of the four great Bhikshus.
Kasyapa: First patriarch following Buddha and one of the four great Bhikshus. Once, instead of preaching,
Buddha held up a flower in silence, Kasyapa smiled, signifying transmission and beginning of Chan/Zen.
