Life of the Buddha - Siddhartha to seek for Nirvana

After many days of contemplation and distress, Siddhartha visited the city for the fourth time. As he was driving to the park he saw a happy man wearing an orange coloured robe. He asked Channa, "Who is this man wearing an orange robe? His hair is shaved off. Why does he look so happy? How does he live and what does he do for a living?"

"That is a monk." replied Channa, "He lives in a temple, goes from house to house for his food and goes from place to place telling people how to be peaceful and good." The prince felt very happy now. He thought, "I must become one like that," as he walked through the park.

He walked until he was tired, then sat under a tree to think some more. As he was sitting under the cool shady tree, news came that his wife had given birth to a fine baby boy. When he heard the news he said, " An impediment ("rahula") has been born to me, an obstacle to my leaving has been born," and thus his son's name became Rahula.

As he was returning to the palace he met the Princess called Kisagotami. She had been looking out of the palace window and, seeing the prince coming, was so taken by his handsome looks that she said loudly, "Oh! How happy must be the mother, and father, and the wife of such a handsome young prince!"

As he passed this woman, Siddhartha heard this and thought to himself, "In a handsome figure the mother, father and wife find happiness. But how does one escape obstacles and suffering to reach nirvana (escape from suffering, a lasting liberation which is happiness and genuine peace)?" With this question he realised what he must do. "I must quit this household life and retire from the world in quest of enlightenment. This lady has taught me a valuable lesson. I will send her a teacher's fee." Loosening a valuable pearl necklace from about his neck, Siddhartha honoured his word and sent it as payment to Kisagotami, with thanks.

Life of the Buddha- The Four Sights: Old Age, sick, dead, and ascetic

The king did everything he could think of to ensure his son Prince Siddhartha would grow up prepared for a life following in his own footsteps and become a king. He ordered a high wall to be built around the palace, including its parks and gardens, but the prince was not happy living like a prisoner. One day he told his father, "I must go out of the palace gate and see how other people live."

"Very well, my son," said the king, "you shall go outside the palace wall to see how people live in my city. But first I must prepare things, so that all would be good and proper for my noble son's visit."

The king ordered the people of the city to prepare for his son's visit by making the streets and homes beautiful and welcoming him as he passed them by. When the people had decorated the city the king said, "Now you can go, my dear son, and see the city as you please."

As the young prince was going through the streets all of a sudden, from a small old hut beside the road, out came an old man with long silver-grey hair, wearing very old, torn and dirty rags. The skin of his face was dried and wrinkled. His sunken eyes were dim and he was almost blind. There were no teeth in his mouth. He stood up, trembling all over, almost bent over double and clutching at a shaking stick with two bent and skinny hands to save himself from falling.

The old beggar dragged himself along the street, paying no attention to all the happy people around him. He was speaking very feebly, begging people around him to give him food, as he would die that very day if he could find nothing to eat. When the prince saw the old man, he didn't know what he was looking at. It was the first time in his life that he had seen an old man of this type.

"What is that, Channa?" he asked his driver. "That really cannot be a man! Why is he all bent? What is he trembling for? Why is his hair silver-grey, not black like mine? What is wrong with his eyes? Where are his teeth? Is this how some people are born? Tell me, oh good Channa, what does this mean?"

Channa told the prince that it was an old man and he was not born like that. "When young he was like us and now, due to his old age he has become this way." Channa told the prince to forget this man. But the prince was not satisfied. "Everyone in the world, if he lives long enough, becomes like this man. It cannot be stopped," said Channa.

The prince ordered Channa to drive back home at once, as he was very sad and wanted to think carefully about that terrible thing called old age.

That night there was a grand royal feast for the prince, but he was not interested or happy at all during the dinner and dance. He was thinking all the time, "Some day you will all grow old and frail and bent — every one of you, even the prettiest."

He could not sleep when night came. He was in bed thinking that one day, everyone would grow old, grey, wrinkled, toothless and ugly like the old beggar. He wanted to know if anyone had found a way to stop this horrible thing — old age.

The king, when he heard this story, was very sad and worried that his son would leave the palace. He told his attendants to put on more dances and dinners. But the prince begged his father to allow him to see Kapilavatthu on an ordinary day without the people being told of his visit.

Life of the Buddha- Prince Siddhartha's Wife

The five wise men who were at Prince Siddhartha's naming ceremony not only predicted the great future of the new prince, but had given the king a warning. "When your son sees a sick man, an old man, a dead body and a monk, he will want to leave the palace and become a monk himself," they had said.

These words worried the king. He became afraid that this son would see these four sights and leave the palace. To shield Siddhartha from any such experiences he employed many young servants to distract and protect him, and did not allow any sick or old people or monks to go into the palace. He built Siddhartha three palaces: one for winter, one for summer and one for the rainy season, as well as enclosed parks and hunting grounds.

Siddhartha played in a sunny world of gardens and groves, attended by dancing girls and musicians. He lived in a world of plenty and beauty. He could have whatever he wanted, yet he was not happy.

One day the king asked some wise people, "What shall I do to make my son happy? He seems depressed and sad always." They answered, "Now your son is sixteen years old, why not find him a beautiful girl to marry?"

The king agreed and sent for all the beautiful girls in the country to come to the palace. When they had all arrived, a grand parade was arranged and the king asked the prince to choose one to be his wife.

Among them there was a most charming and kind girl by the name of Yasodhara. When Prince Siddhartha gave her a present more valuable than any he had given to the other maidens, the king saw that the prince had chosen his love. The king happily accepted Yasodhara and allowed his son to marry her.

The Phra Phuttha Sihing images

The Bangkok Metropolitan Administration (BMA) today (April 12th) arranges a procession of Pra Phuttha Sihing for an auspicious future of people celebrating the Songkran festival.

Bangkok Governor M.R.Sukhumbhand Paribatra presided over a ceremony to bring the Phra Phuttha Sihing Buddha image from the National Museum in the procession to celebrate Songkran. The procession will pass many roads in Bangkok and stop at three locations to allow people to pour water onto the Buddha image. The first place the procession will stop is near the Wong Wien Yai roundabout at 10.30hrs. The other two places include the Santi Chai Prakarn park and Khao San road at 13.15hrs and 14.00hrs respectively. The procession will end at BMA’s main Songkran ceremony site at Sanam Luang before the Buddha image is placed there.

The procession to bring Phra Phuttha Sihing to Sanam Luang has become a tradition since 1934 when Phraya Phahon Phayuhasena was prime minister. It is believed among Thais that to pay respect to Phra Phuttha Sihing, one of the national Buddha images, and pour water onto it will bring fortune to their life throughout the year.

The traditional Thai New Year is an occasion for merriment all over the city, but most notably at Sanam Luang, near the Grand Palace, where the revered Phra Phuttha Sihing image is displayed and bathed by devotees. In the Wisutkasat area, a Miss Songkran beauty contest is held and accompanied by merit-making and entertainment. Khao San Road, Bang Lamphu area is also one of the high-spots in the city to experience the water-throwing activities between locals and tourists.

Phra Phuttha Sihing is housed in the Phra Phuttha Sihing hall near the Provincial Hall. This sacred image was believed to have been ordered by the king of Lanka in 157 AD and was brought to Thailand during the reign of King Ramkhamhaeng the Great. There are currently 3 similar images in Thailand which are at the National Museum in Bangkok, Wat Phra Sing in Chiang Mai and this image in Nakhon Si Thammarat.

Buddha images in the Bangkok Period

In modern times, Buddha images are often replicas of images from the Sukhothai and other early periods, often more ornately and elaborately adorned. Faces in new innovative depictions are typically more realistic and human-like. An elongated flame aureole is popular. Robes depicted in modern images often depict floral designs. The Indian Gandhara style, as well as western art have also influenced many of the modern images.

After the destruction of Ayutthaya in 1767, Thonburi and then in 1782 Bangkok became the kingdoms new capital. Even there was a new capital, the kingdom continued to exist and so did his artists and sculptors. Unlike Sukothai and Lanna styles, which vanished, Rattanakosin style is the continuation of Ayutthaya style in a new place. The Rattanakosin sculptors continued what had started in Ayutthaya; the creation of new styles and themes.

The material of choice was bronze, wood became less important than it had been during the Ayutthaya period, but still played a role . Many other figures besides the Buddha became popular, including scenes from the Buddhist mythology and Thai history.

Not counting the short Thonburi intermezzo, Rattanakosin has 4 periods that are identified by the name of the kings:

Rama I and II (1782 – 1824): Continuation of Ayutthaya clearly visible, Beautiful wooden images on decorated pedestals. Buddha sheltered by naga becomes popular again. Bronze images, especially standing ones are still heavily decorated

Rama III (1824 – 1851): Many sculptures other than Buddha images appear, Beautiful faces mostly found in plain, undecorated images.

Rama IV (1851 – 1868): King Rama IV brought new rationalism to Thailand, in politics as well as the Arts. The heavy decoration is partly replaced by Buddha images clad in a beautiful robe with flowery design, but no crown or jewelry. Most of the beautiful faces of Rattanakosin are from this period.

Rama V – VIII (1868- 1946) and Rama IX (1946 - present): This period saw 2 important developments. First of all, industrialization brought mass production of Buddha images, many pieces (except for the big important ones commissioned by the palace or temples) are not individual pieces of art any more, but mass production. Secondly, it became popular in the beginning and middle of the 20th century to copy the beautiful old Buddha images of Sukothai, Lanna and early Ayutthaya. This style is called „Rachakan“ and most of the so called „Sukothai style“ Buddha images sold in galleries in Thailand and elsewhere today are from this period. Since they are about 100 years old, customers are often mislead. Similarly, it became popular to mix different styles.

Rattanakosin Buddha images are ideal pieces for people who want a beautiful, authentic Buddha for an affordable price. All prices except for very large or perfect pieces (faces) are still affordable. Prices don’t differ much from the late Ayutthaya period.

Crowned Buddhas in the Ayutthaya Period

Artistic styles in Ayutthaya were a complex mix. The images below suggest the range of styles and geographically distributed influences shaping the arts of Ayutthaya.

Main Buddha Image at Wat Na Phramen, Ayutthaya. Hands display the gesture of Subduing Mara. The Buddha is in Royal Attire, with a prominent Head Dress or Crown. Typical of the late Ayutthaya period.

Buddha images of the Ayutthaya period show more different gestures than the other previoius styles. The images display the influence of Lopburi, U Thong and Sukhothai styles.

Initially the face may be more square, and a band (U Thong influence) may be present between the hairline and the forehead. Later on (Sukhothai influence) the face became more oval, with a Sukhothai type of flame on top of the ushnisha (prominent bump on the top of Buddha's head). Typical of some images are small lines carved above the upper lip and above the eyes.

Later on also, the facial expression became more stern, sometimes without any smile at all. In the later period, it became also common to show the Buddha wearing a lot of ornaments. One type shows the Buddha with an Emperor's attire (the Thai language term refers to 'big ornamentation') or with a somewhat more modest attire ('small ornamentation') featuring a crown or diadem. See examples especially at bottom of this page.

Buddha images of this period display many gestures and postures. Standing images (as featured below) often display the gesture of Dispelling Fear (Abhaya Mudra). Sitting images often display the gesture of Subduing Mara. Some giant Reclining Buddhas were constructed during this period.

Ayutthaya sculptors were fond of depicting the Buddha dressed in the "closed manner", with the clothing seeming to hug the body tightly. The upper turned-back edge of the antaravasaka shows through the outer uttarasanga, as does the stripe of its lengthwise folds between the legs. Beginning with Ayutthaya art this kind of treatment of the Buddha's clothing, which also occurred in Sukhothai, gradually becomes the general norm. In their depiction of types of ornament the sculptors followed the changing fashions of the Ayutthaya rulers. The modest embellishment of the crown and the absence of all other adornments (apart from earrings) allow us to date this sculpture to the 16th century. This is also borne out by the character of the depiction of the clothing, which is also completely devoid of adornments.

Bodhisattvas from the Malay Peninsula

The Malay Peninsula or Thai-Malay Peninsula is in Southeast Asia. The land mass runs approximately north-south and, at its teminus, is the southern-most point of the Asian mainland. The area contains territories of Burma,Malaysia, Singapore, and Thailand.

This image of Manjushri, the Bodhisattva of Wisdom, belongs to the Shrivijayan tradition of sculpture, so named for the kingdom of Shrivijaya that, from its capital at Palembang in Sumatra, controlled large parts of southern Thailand. This seafaring kingdom may also have controlled other regions in Indonesia such as parts of Java. As a result, sculptures made under Shrivijayan rule exhibit a wide diversity in style, making them difficult to classify. Sculptures produced on the Thai/Malay Peninsula, such as this bodhisattva, are classified as either Thai, Chaiya, or Shrivijayan.

Manjushri is identified by the sword and book placed atop the lotus that he holds in his left hand. The gesture of bestowal or charity (varadamudra) further defines the figure as the Sita Manjughosa or "Gift-Bestowing" form of Manjushri. The tiny seated figures in the bodhisattva's headdress represent the five transcendent buddhas of the Esoteric pantheon, linking this sculpture with the practices of that branch of Buddhism. This figure wears a thin diadem and has jeweled and flowered hair, some of which falls in the long corkscrew-shaped curls often found in early Buddhist sculpture from peninsular Thailand, as are the oval face, fleshy cheeks, small features, and flexed posture. The bodhisattva sits in the posture of relaxation (lalitasana) on a lotus pedestal, which is placed on a two-tiered square base. Four pudgy lions with squat faces sit at the four corners of the base.

Srivijayan Empire (7th–13th century)

Srivijaya, a maritime empire centered at Palembang on the island of Sumatra in Indonesia, adopted Mahāyāna and Vajrayāna Buddhism under a line of rulers named theSailendras. Yijing described Palembang as a great centre of Buddhist learning where the emperor supported over a thousand monks at his court. Atiśa studied there before travelling to Tibet as a missionary.

Like Dvaravati art, Srivijayan art was also heavily influenced by Indian traditions. It seems likely that this part of Thailand was on the trade route between India and China, and as a result local artists were well aware of Indian styles. A problem with characterizing the art of this period, which spanned five centuries, is that it is very varied.

Srivijaya was a Mahayana Buddhist Empire, and numerous Avalokitesvara Bodhisattvas have been found, in both stone and bronze, at Chaiya . Some of these are wonderfully carved, and particularly notable is the supremely modelled bronze Avalokitesvara (eighth century, 63 cm high), unearthed at Chaiya and now housed in the National Museum in Bangkok. In fact, so much Srivijayan art has been discovered around this town that some experts went so far as to argue that Chaiya, and not Palembang, was the capital of Srivijaya. Unfortunately, however, there are few architectural remnants from the period. Two exceptions are Wat Phra Boromthat and Wat Kaeo, both at Chaiya .

A SUMATRA, SRIVIJAYA STYLE, BRONZE FIGURE OF AVALOKITESVARA, standing in samabhanga, his six arms radiating around his body and holding clockwise varadamudra, pasa, akshamala, pustaka, padma and formerly the kamandalu, now missing, wearing dhoti engraved with alternating floral and chevron bands, sashes falling to both sides, tiger-skin around his hip, belt,upavita, many bodhisattva-ornaments, his face with silver-inlaid eyes, urna, pointed nose, elongated earlobes with large ear-rings, high jatamakuta set with small figure of Amitabha in the front, dark-green patina, late 7th - early 9th Century.

Srivijaya spread Buddhist art during its expansion inSoutheast Asia. Numerous statues of bodhisattvas from this period are characterized by a very strong refinement and technical sophistication, and are found throughout the region. Extremely rich architectural remains are visible at the temple of Borobudur the largest Buddhist structure in the world, built from around 780 CE in Java, which has 505 images of the seated Buddha. Srivijaya declined due to conflicts with the Chola rulers of India, before being destabilized by the Islamic expansion from the 13th century.

19th century reproduction of a 12th century Sri Vijaya Bodhisattva
Thailand

A 19th century, Srivijaya style, cast bronze Buddhist statue of a Bodhisattva, standing with right knee slightly bent on a double tiered circular lotus base. His oval face is sensitively cast with a meditative expression and framed with pendant ears supporting dangling earrings partially resting on the shoulders. His hair is arranged in a very tall chignon with a spiral pattern fronted by ornaments and a five point diadem. This deity has four arms, arranged two on each side:

- the front right hand posed in a form of the Vitarkamundra,
- the back right hand raised, holding a book (symbol of knowledge),
- the front left hand holding the stem of a lotus bud entwined around the left front arm,
- the back left hand holding the base of the lotus bud.

The lower body is covered with a close fitting dhoti, decorated with incised diaper pattern, the chest and waist festooned with various necklaces, ornaments and ribbons. The metal surfaces is patinated green with some traces of gilding in recesses of casting.

Wheels of the Law and Aniconic Art

The Dharmacakra "Wheel of Dharma" or "Wheel of Law" is a symbol that has represented dharma, the Buddha's teaching of the path to enlightenment, since the early period of Indian Buddhism. It is also sometimes translated as wheel of doctrine or wheel of law. A similar symbol is also in use in Jainism. It is one of the Ashtamangala Symbols.

The Dharmacakra symbol is represented as a chariot wheel (Sanskrit cakram) with eight or more spokes. It is one of the oldest known Buddhist symbols found in Indian art, appearing with the first surviving post-Harappan Indian iconography in the time of the Buddhist king Aśoka. The Dharmacakra has been used by all Buddhist nations as a symbol ever since. In its simplest form, the Dharmacakra is recognized globally as a symbol for Buddhism.

In Buddhism, according to the Pali Canon, Vinayapitaka, Khandhaka,Mahavagga, Dhammacakkappavattanasutta—number of spokes of the Dharmacakra represent various meanings:

8 spokes representing the Noble Eightfold Path (Ariya magga). 12 spokes representing the Twelve Laws of Dependent Origination(Paticcasamuppāda). 24 spoke representing the Twelve Laws of Dependent Origination and the Twelve Laws of Dependent Termination (Paticcasamuppāda). 31 spoke representing 31 realms of existence (11 realms of desire, 16 realms of form and 4 realms of formlessness).

In Buddhism, Parts of the Dharmacakra also representing:

Its overall shape is that of a circle (cakra), representing the perfection of the dharma teaching. The hub stands for discipline, which is the essential core of meditation practice. The rim, which holds the spokes, refers to mindfulness or samādhi which holds everything together. The corresponding mudrā, or symbolic hand gesture, is known as the Dharmacakra Mudrā. The Dharmacakra is one of the eight auspicious symbols of Tibetan Buddhism. The dharma wheel can refer to the dissemination of the dharma teaching from country to country. In this sense the dharma wheel began rolling in India, carried on to Central Asia, and then arrived in South East Asia and East Asia.

Aniconic Art

Buddhist art originated in the Indian subcontinent in the centuries following the life of the historical Gautama Buddha in the 6th to 5th century BCE, before evolving through its contact with other cultures and its diffusion through the rest of Asia and the world.

A first, essentially Indian, aniconic phase (avoiding direct representations of the Buddha), was followed from around the 1st century CE by an iconic phase (with direct representations of the Buddha). From that time, Buddhist art diversified and evolved as it adapted to the new countries where the faith was expanding. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India, Buddhist art flourished and even influenced the development of Hindu art, until Buddhism almost disappeared around the 10th century with the expansion of Hinduism and Islam.

The first clear manifestations of Buddhist art date back to the time of the emperor Ashoka during the Mauryan era (322-180 BCE), through the building of numerous stupas, such as the one at Sanchi, and the erection of pillars. The pillars were surmounted by animal capitals and decorated with Buddhist symbols (such as the wheel), which invoked respect for all creatures and the acceptance of the Dharma.

During the 2nd to 1st century BCE, sculptures became more explicit, representing episodes of the Buddha¡¯s life and teachings. These took the form of votive tablets or friezes, usually in relation to the decoration of stupas.

Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form, but only through some of his symbols. Among them:

The Wheel of law (skt. dharmacakra), symbol of the Four Noble Truths expressed by the Buddha.

The Bodhi tree, the tree where the Buddha reached enlightenment. It has some antecedent in fertility cults and representations of the tree of life.

The Buddha footprint (skt. Buddhapada ¡°Buddha feet¡±) to represent the impact of the teachings of the Buddha on the world.

The Empty throne.

The Lions, symbol of his royalty. The Buddha was known as the "Shakya Lion" during Ashoka's time, so this symbol was used on the Buddhist pillars he planted throughout India.

The Columns surmounted by a wheel, symbol of his teaching.

The Lotus, symbol of pure, unspoiled Buddha Nature, for its beautiful blooming and the impossibility for water to adhere to it, leaving it spotless.

This reluctance towards anthropomorphic representations of the Buddha, and the sophisticated development of aniconic symbols to avoid it (even in narrative scene where other human figures would appear), seems to be connected to one of the Buddha¡¯s sayings, reported in the Dighanikaya, that disfavored representations of himself after the extinction of his body. This tendency remained as late as the 2nd century CE in the Southern parts of India, in the art of the Amaravati school. It has been argued that earlier anthropomorphic representations of the Buddha may have been made of wood and may have perished since then. However no related archaeological evidence has been found.