The Folk Beliefs on the Past Buddhas in Lan Na Buddhist Arts
Phra
Nakorn Pannavajiro, Ph.D.
Academic Affairs Division
Mahachulalongkonrajavidayalay University, CM,Campus
nantaperi@gmail.com
Phra Kru Baidikatippanakorn Jayabhinando
Academic Affairs Division
Mahachulalongkonrajavidayalay University, CM,Campus
Joelee202@gmail.com
Phisit Kotsupho, Ph.D.
Graduate School Center,
Mahachulalongkonrajavidayalay University, CM,Campus
phisittha@hotmail.com
Abstract
Theravada Buddhist scriptures were
stated that the numbers of Buddha are as many as the sand in the Ganga River.
These Buddhas by their Buddhahood are of two kinds: the Perfectly Enlighten
Buddha (a universal Buddha) and the Enlightened for himself (a Particular
Buddha) through the continuous occurrences in 3 periods of time: the Buddhas in
the past, the Buddha in the Present and the Buddhas in the future. In Lan Na
Buddhist literatures, many beliefs on Buddhas in the past were inherited and
were corresponded to the Theravada Buddhist scriptures. But identifying the numbers and names of the
past Buddhas are both consistency and differency.Especially the literatures
namely: Sambhāravipāka, Jinakālamāli, Mulasāsana(the Lan Na version) and
Metteyavaṃsa(Lan Na version), which had been influenced by the Sodatthakimahānidāna
had mentioned the numbers of Past Buddhas about 512,027 persons whom the
Bodhisatta met during his charisma, 20 countless(Asankhayya) and 100 thousands Eons(Kappa)
There were two names of the past Buddhas which did not found in Theravada
Scriptures namely: the Purāṇadipangkara and Brahmadeva. That is the concept
having been influenced by Mahayana Buddhism. While in the Theravada Buddhist
scriptures it was clearly mentioned the numbers and names of the past Buddhas
only 27 persons during time of the Bodhisattva's Verbal practice beginning from
Taṇhankara unto Kassapa.
The
beliefs on the Past Buddhas in Lan Na has been closely tied to the Lan Na
cultures conveyed visually in the Buddhist arts thereby the numerous Buddha
statues were made, for instance, the burn-clay votive tablets, the wooden panel
votive tablets and the temple mural paintings. It was asserted that the
advantage of creating a Buddha image is the supporting concept and stimulating
to make many Buddha images. In the above mentioned Buddhist arts, they can be
classified into 2 sets of thought on the plenty past Buddhas appeared in Lan Na
Buddhist arts relating toward the present Buddha, namely: the past Buddhas those who did not give any prophesy
to the Bodhisatta, and those who gave the prophecies to the Bodhisatta. Therefore,
Lan Na Buddhist arts with many Buddha images are reflecting the worship - ways
to the past Buddhas in Lan Na culture.
Keywords:
belief,
the Past Buddhas, Lan Na Buddhist Arts
Introduction
Since the time of Chammadevi
the Queen had brought with her the Tipitaka Scholar monks from Lavo(Lop Buri); the
Dvaravati Kingdom to propagate Theravada Buddhism in the Hariphunchaya (Lamphun)
Kingdom in 1204 BE. It caused the first establishment of Theravada
Buddhism in the Lan Na. Later on, the twice propagations were done: in 1912 B.E.,
Ven.Sumana Thera from Sukhothai had brought the Mon-styled Buddhism (Ramaňňavaṃsa)
from Muang Phan, which inherited from Lanka to Lan Na known as the Early Langkavaṃsa
Theravada, Langkavaṃsa. In the year 1973 B.E.,
Ven. Phra Maha Ñāṇagaṃbhira with his group had traveled for study Buddhism in
Lanka. He had brought the Langka –styled practice to Lan Na. This is the third
time of propagation called the Later Langkavaṃsa Theravada, (Prasert Na Nakhon
and Puang Kham Tui Khieo, 1994: 2). From that time up to
date, Buddhism has sequentially prospered in Lan Na Kingdom over amount 1,300 years, supported Lan Na people having
unshaken faith in Theravada Buddhism.
The
belief in the Buddha is regarded as the core of Buddhist belief, because of the
Buddha himself was the founder and propagated teachings. The Buddha, therefore,
was the most important he Buddha in Lan Na cultures. It has found the popular
traditions in building and worshiping the Buddha images, for example,
enshrining the Buddha images in wooden plate on the main altar with the Main
Buddha in the Hall, embedding the clay votive tablets in Stupa or in the altar, the
mural painting of Buddha images adorned on the walls nearby the Main Buddha,
and so on. A lot of Buddha images is
found in these Buddhist arts; in particular kinds, the 5 Buddhas are found,
some are 25, 27, 28, 100, 1,000 or uncountable Buddhas in numbers are
found. This firmly implies the belief in the numerous Buddhas having
continuously occurred in 3 periods of time; the past, the present and the
future. The belief in the past Buddha in Lan Na Buddhist arts is very
interesting, since, it is related to the perception of the past Buddhas from
various knowledge- sources in scriptures
and literature handed down to such empirical and beautiful arts.
The
Concept of Buddhas in Theravada Scriptures
The
Buddha is a popular term named whoever attained enlightenment which is the
special status having accomplished from the extremely and long fulfillment of
virtues. Having virtues fulfilled, then he has to enlighten and become the
Buddha.
In Theravada Buddhist
scriptures, it was said that the Buddhas are as many as seeds of sand in Ganga
River as quoted in Visuddhavilāsinī, the commentary “the 30 Perfections such as
charity, are the causes of many Buddhas, those are alike seeds of sand in Ganga
River. (Gangāvālukŭpamaṃ anekāsaṃ buddhānaṃ
dānapāramitādisamatiṃsapāramitā kāraṇāni) "(Khu.Apa. Attha. (Thai) 8/1/191). It
has shown the generosity of Buddhahood to which the numerous potential human
beings had already achieved through the state of Bodhisatta having fulfilled the 3 levels of perfections
namely, the 10 basic perfections (Dasa Pāramī), the 10 medium perfections(Dasa
Upapāramī) and the 10 upmost
perfections(Dasa Paramattha Parāmī). There are totally 30 Perfections (Samatiṃsa
Paramī).
According
to the Characteristics of Buddhahood, there are two types of the Buddha namely,
the Sammāsambuddha(the fully Enlighten One
and propagated teaching) and the
Paccekabuddha(the fully Enlighten One
but not propagated the teaching) (Ang. Ekka - Duka. (Pali) 20/301797). In
Bahudhātakasutta, it mentioned that there will be only one by one Buddha in one
Universe at the same time. They must not simultaneously arise. (M.U. (Thai)
14/129/167).
In
Visuddhavilāsinī, the commentary, it had explained the two different types of
the Buddhas (Khu.Apa. Attha. (Thai) 8/1/203) that “the Fully
Enlightened Buddha is an extremely fulfill-performer. Once receiving prophecies
from the Buddhas, he spent the different durations of times in fulfilling the
perfections according to his/their prominent aspiration, such as the one who is Wisdom
–prominent(Panññādhika-Buddha) should completely spend
4 Uncountable and 100,000 Eons, then
will attain the enlightenment. The 8 Uncountable and 100,000 Eons are the times
for the Faith-prominent One (Saddhādhika-Buddha). While 16 Uncountable and 100,000
Eons are the periods of the perseverance – Prominent One (Viriyādhika-Buddha).(Khu.Apa.Atth.(Thai)8/1/188).These
Buddhas having preached only one doctrine could guide the uncountable listeners
to reach Nibbana. This has followed his mental aspiration while he remained as
Bodhisatta that “If I liberated from the circle of suffering, I shall also
raise the people to overcome the circle of suffering”. (Sambhāravipāka, 1961:
29-30). On the Contrary, the Pacceka Buddhas had spent only 2 Uncountable and 100,000 Eons for
their fulfilling perfections. (T.M.Atth. (Thai) 2/1/203). They then, enlightened
only for their sakes, not for preaching the others to attain the liberation.
When they had to assist their supporters, the only 2 blessing
stanzas were given, because of no any mental aspirations were initially
determined.
In Theravada Buddhist scripture,
it was told that Buddhas occur in all 3 times: Buddhas in the past, Buddha in
the present and Buddhas in the future. But in each scripture, the exact numbers
and names of them are different according to the context of its contents. For
example: in Mahāpadānasutta, (T.M.(Thai). 10/1/1-56), and Āṭānāṭiyasutta (T.Pa.
(Thai).11/277/220-221) it has specified 7 numbers and names of the Buddhas
including the 6 Buddhas in the past; namely Vipassi, Sikhi, Vessabhû, Kakusanda,
Konāgamana,
Kassapa and the Gotama, the present Buddha.
In Vepullapabbata Sutta (Sang.N.
(Thai) 16/143 / 230-232), it identified only 4 Buddhas; 3 Buddhas in the past
namely Kakusanda, Konāgamana Kassapa, and the only one present Buddha; the
Gotama. But in Buddhavaṃsa (Khu
Bud.(Thai) 33 / 1-24 / 592-721), it is indicated
the many numbers, the names and histories of these Buddhas
by indicating 24 Buddhas in the past and one Buddha in the present. They are
totally 25 Buddhas. These Buddhas in the past had ever predicted to the
Bodhisatta before his enlightenment and becoming the present Buddha. Here are
their names: Dîpankara, Kondhaññna, Maŋgala, Sumana, Revata, Sobhita,
Anomadassi, Paduma, Nāradha, Padummuttara, Sumedha, Sujata, Piyadassî,
Atthadassî, Dhammadassî, Siddhattha, Tissa, Pussa, Vipassî, Sikhî, Vessabhû, Kakusanda,
Konāgamana, and
Kassapa. On the other hand, in Buddhapakiṇṇakakaṇdha, (Khu.
Bu.(Thai) 33/1/721) it is also recited three more names of the Buddhas those had come prior to Dipankara; the Buddha; Taṇhankara,
Medhankara and Saraṇankara. The only one Buhdha in the future whose name
Metteyya is appeared in Theravada scripture in the Cakkavattisutta (T. Pa.
(Thai) 11/107 / 78-79).
Conclusively
speaking, in Theravada Scriptures, there are plenty of Buddhas those were back
to back born in 3 times with clearly reciting their numbers and names; i.e.,
the 27 past Buddhas since Taṇhankara unto Kassapa. The only one future Buddha is
naming as Metteyya. Lastly, Gotama, the present Buddha while he was fulfilling
perfections with verbal declaration in 4 Uncountable and one hundred
thousand Eons had got predictions from the 24 Buddhas in the past.
The Past Buddhas in Lan Na Buddhist
literatures
The
Lan Na Buddhist literatures have been presented the numbers
of Buddhas
agreeable with Theravada scripture which stated that the
Buddhas are as many as the seeds of sand in the Ganga River (Khu.Apa. Atth.
(Thai) 8/1/191). However, the concept of the Past Buddhas by numbers and by
names was presented both agreeable and disagreeable from Theravada scripture. Especially
the Sambhāravipāka having been assumed that it was composed in Lan Na around
the latter period of 19th Buddhist Century. (Suphaphan Na Bang
Chang, 1990: 136) and the Jinakālamālipakarana being composed by Phra Siri Rattanapaññāthera,
in 2060 B.E.. (Likhit Likhitanon, 1997: 115-119) both had mentioned that during
the times of Bodhisatta having performed to fulfill perfections about 20
uncountable and 100,000 Eons, he had totally met the 512,027 Buddhas. Those
numbers of the Buddhas are classified by the particular periods of his performing
perfections as follows:
1. During
his Mental inspiration about 7 uncountable Eons, he had met 125,000
Buddhas, but he did not get any prophecy.
2. During
his Verbal declaration around 9 uncountable Eons, he had met
387,000 Buddhas, but he did not also get any prophecy.
3. During
his Physical and Verbal declaration around 4 uncountable and 100,000 Eons, he
had met 27 Buddhas, and
he had got the prophecies since Dipangkara Buddha until Kassapa Buddha.(Sambhāravipāka,
1961: 179, and Jinakālamālipakarana, 1974:
10-26).
In the other two literatures
namely; Mūlasāsanā (Lan Na version) and Metteyyavaṃsa (Lan Na Version), they were
told that Bodhisatta had met the plenty numbers of Buddhas in the past. They are similar to
Sambhāravipāka and Jinakālamālipakarana. While the numbers and names of Buddhas
recited in Jinamahānidāna were corresponding to those of Buddhavaṃsa (Khu.
Bud. (Thai) 33/1-24/592-721). They were 24 Past Buddhas who had given
prophesies to Bodhisatta only during his performing perfection with physical
and Verbal declaration. The below table shows the numerous differences of the
past Buddhas in each literature as follows:
Table 1
It shows the different numbers of the past Buddhas in Lan
Na literatures.
|
Lan Na Literatures |
The Past Buddhas during his mental
Inspiration |
The Past Buddhas during His Verbal Declaration |
The past Buddha during his Physical and
Verbal performances |
Total Numbers of Past Buddhas |
|
Sambhāravipāka |
125,000 |
387,000 |
27 |
512,027 |
|
Jinakālamālipakarana |
125,000 |
387,000 |
27 |
512,027 |
|
Mūla Sāsanā Lan Na version |
124,000 On the other hand 125,000 |
72,000 On the other hand 187,000 |
27 |
196,027 On the other hand 312,027 |
|
Metteyyavamsa
Lan Na Version |
124,000 |
327,000 |
27 |
451,027 |
|
Jinamahānidāna |
NA |
NA |
27 |
27 |
In the case of Sambhāravipāka, Jinakālamālipakarana
Mūlasāsanā and Metteyyavaṃsa had been described the different numbers of the
Past Buddhas from Theravada Scripture, because they had been influenced by Sodattakimahānidāna’s
compositional Style which written by Ven. Cūla Buddhaghosācāriya of Lanka
around the 18 Buddhist Century. This literature was widespread in South East
Asian Theravada Buddhist Countries, especially Burma and Thailand.(Suphaphan Na
Bang Chang, 1990: 132 and 136). The main contents of Sodatakimahānidāna indicated
numbers of the past Buddhas about 512,027 persons, those were met by The
Bodhisatta when he performed the perfection. Those numbers are divided into 3
periods: there were 125,000 Buddhas in
his mental inspiration, the 387,000 Buddhas in his verbal inspiration and 27
Buddhas in his physical and verbal performance for perfections. But the prophecies
he had only got from 24 Lord Buddhas. Especially the Sambhāravipāka has
directly copied the content from Sodattakimahānidāna having denoted that
Bodhisatta had performed perfections about 20 countless Eons and had met 512,027
Buddhas in the past.(Suphaphan Na Bang Chang, 1990: 136). Later on Jinakālamālipakarana, Mūla Sāsanā and
Metteyyavaṃsa (Lan Na Version) were too influenced by Sodattakimahānidāna via Sambhāravipāka
and indicated the same numbers of the past Buddhas as well.
The distinct identifying the
names of the past Buddha in Lan Na literatures from Tipitaka, that is, during times
of his performing for perfections about 7 countless Eons, the 125,000 Buddhas
had arisen. Only 2 names of the Buddhas, namely; Dipangkara and Brahmadeva were
designated.
There
were 2 Buddhas have recorded the same names as “Dipankara” that is, if there is
the former Dipankara whom the Bodhisatta had met in his mental inspiration -
time was named as “Purāṇa Dipankara” the latter Dipankara who had given the
prophecy to Bodhisatta in the time of his verbal inspiration was named as
“Pacchima Dipankara”. In Sambhāravipāka and Jinamahānidāna it was told that Bodhisatta, during
his mental inspiration for performing perfections, was born as the younger step
sister of Purāṇa Dipankara named as “Sumittā”. She
had donated the lettuce seed’s oil to the Elder Bodhisattta, who
would be the next Buddha in the future having the same name “Dipankara”. She,
then, asked the Elder to bring her aspiration to tell Purāṇa Dipankara that “she wishes to be a Buddha
in the future”. Lord Buddha, in that
time, did not give any prophecy yet, but he said to the Bodhisatta that “in the
future about 16 uncountable and 100,000 Eons, when Bodhisatta has got enlightened,
Bodhisatta shall give her a prophecy”. When Sumitta died, she was born in Dusitta
Heaven. Later on, he was born as Arati King in Karannaka city. He performed
perfections wishing to be the next Buddha in the front of Lord Brahmadeva the
Buddha. But he still did not receive a prophecy from the Buddha, because of the
8 Dhamma’s qualifications were not yet complete. (Sambhāravipāka, 1961: 64-78
and Jinakālamālipakarana, 1974: 7-9).
The double recitation of
the Buddha’s name “Dipankara” and the extra name “Brahmadeva” are different
from Theravada Scripture, in which, it clearly identifies the 27 names of past
Buddhas only in the time while Bodhisatta performed Physical and Verbal
inspirations. The names began onwards from Taṇhankara until Kassapa. But there
were no names of Brahmadeva and the double names of Dipankara. This was so,
because they got the influence from Mahayana Scripture which had been developed
the ideas of personified Buddhas as Bumphen Rawin has given the point of view that
“The Mahayana Scripture had developed the word “Budda” (in singular number
form), which originally was just a word “Buddhā” in plural number form of Pali
gramma, which
indicates that there are plenty Buddhas. Those Buddha were occurred in all 3 times: in the past, the present and the future. Later on, it
clearly gave the names of the Buddhas such as in Mahavastu, the name of the
Buddha were beginning from Indradhavajja, who had predicted prophecies to other
133 Buddhas, but some names as “Sikhina” were the names of 62 Buddhas, and
“Jinendhra” was the names of 300 Buddhas. But, in Lilitavistra, it identifies 55
Buddha's names originating with Padmotra, Dipankara and other
names which corresponded those names appeared in the Pali Scripture. (Bamphen
Rawin, the Anāgatavaṃsa and Metteyyavaṃsa, Lan Na versions, 1992:
Foreword, pp. 2-4).
The results of merit in making Buddha Statute in Lan Na
The way of belief
on the Past Buddhas in Lan Na literatures has been binded to the Lan Na
cultures through building numerous Buddha statues in various forms with purpose
either to settle them in the Viharas or to keep in a Jetiyas or inside Buddha
Statute’s Platforms.
Those were built up as the symbols of Uddesika Jetiya wishing to worship the
Buddha and to prolong Buddhism for 5,000 years. They
believed that the merit in making the Buddha statute will yield everlasting
happiness in human realm, divine realm,
and the Nibbana.
According
to the way of belief in result of merit in making Buddha statute, it was told that “The whoever
makes Buddha statute by various materials will gain the different advantages namely
the Buddha statute having been made of banana leaves, the leaves and the palm
leaves, will yield advantage for 5 Eons., ...made of
clay..for 15 Eons., ...of wood …for 20 Eons., ...of
Elephant’s ivory, Rhinosarous horn, and other animal’s horns…for 25
Eons., ...of terracotta…for
30 Eons., ...of stone…for 35 Eons., ...of lead, and the mixed metal…for 40 Eons., ...of brass and copper.. for
45 Eons., ...of silver… for 50 Eons.,
...of gold…for 60 Eons., ...of precious stone…for 65 Eons, and having the Buddha statute was made of the Bodhi
Tree and sandal wood, will yield a long
and uncountable advantages. This way of belief in such advantagehas encouraged Lan
Na people to make a large number of Buddha statutes for worshiping the Buddhas.
(Wichian Surinta and colleagues, 2006: 344-345)
The Past Buddhas in Lan Na Buddhist
Arts
The
belief on the past Buddha in Lan Na people’s perception was empirically inherited
in Lan Na Buddhist arts, i.e., the making up burn-clay votive tablets, the
wooden panel votive tablets and temple mural paintings. It was related to the
concept of the advantage of merit in making Buddha statutes. It was also the
local medias having bound such beliefs about the past Buddha to Lan Na people based
on the merit’s advantage of making the Buddha statutes. To make up the
burn-clay votive tablets, the wooden panel votive tablets and temple mural
paintings about the past Buddhas was popularly enshrined in Vihara which is the Holy Buddha’s area whereby the
main Buddha statute which represents the present Buddha is installed to be the center of the way of belief about the Buddhas.
As it was told in the Legend of
Chiang Mai that Phra Ya Mang Rai had built a Vihara to enshrine Buddha Statute
and prays that ‘Hereby the actually power of merit that I have made the Buddha statute,
I have survived. I, therefore, shall build up Vihara and donate to be the
delightful place of the Buddha statute’. (Chiang Mai Local Legends Examination
and Refining Subcommittee, 1995:
27) (, 2001: 24)
In
addition, Woralang
Bunyasurat also mentioned about the ways of building up Temple
of Lan Na people that they had set the temple layout dividing the area for the
holy Buddha, and the areas for the Sangha(group of monks). But they will
emphasize the main essence in the ideal. That is in the Buddha’ Area, the main
gate is set as the entrance path. Jetiya is the representative of the Buddha. The
main Hall(Vihara) is the place enshrined of the Buddha statute and to perform
the religious Cactivities. The Uposatha Hall is the place for Sangha-Ceremonie. And the holy Tipitaka Hall is for kepping the Dhamma. Totally
the Holy Buddha Area is named as “The Triple Gems’ Place” referring to the boundary where the Triple
Gems reside. From this
concept it implies that Vihara is a unique area for interacting towards belief
in Buddha of Lan Na people. (Woralan Bunyasurat, 2001: 24)
1. The Past Buddhas shown
in the burn-clay votive tablets
To make up Buddha statutes are the
representative symbols of the Past Buddhas in Lan Na Culture with both denoting
and none denoting the names of the past Buddhas. For example, the brown
sandstone Buddha statutes in siting posture having found in Wat Lee, Muang
District, Phayao Province were created around the 21st to 22nd
Buddhist Centuries. On their base plates, the old Sukhothai style alphabets
were inscribed and identified the name of the past Buddha as “Taṇhankara”.
Another Buddha statute was named as “Saraṇakara”. (Sujit Wongthet (editor), 1995: 513 and 519). This implies the movement towards the perception of
the past Buddhas whose names appeared in Theravada Buddhist scriptures.
On the other
hand, the
creation of the past Buddha statutes without reciting their names was the creation
of the burn – clay votive tablets. That is the craftsman
uses the same mold, filling up a lot of clay to imprint and then, burns them to
make them stronger. Having all done, the craftsman brought and loaded them inside
of pagoda or inside a base platform of Buddha Statue in Vihara.
Many popular
temples in Lan Na those having favored loading many burn-clay votive tablets.
Especially, the well-known groups of burn-clay votive tablets are the Lamphun
school or Hariphunchaya votive tablets. Some votive tablet contains only one
Buddha statute, such as Phra Rod of Mahavana Temple, Phra Kong of Phra Kong
Temple, Phra Perm and Phra Bang of Don Kaew Temple, and so on.
Furthermore,
the numerous burn-clay
votive tablets were also fixed on one plate, such as the Three Buddhas, the Ten
Buddhas, the Twelve Buddhas, the Eighteen Buddhas, or 50 Plated or the walled
Buddhas, etc.. Sakchai Sai Sing explained that the Three Buddhas is likely to
come from the belief in Tri-bodies, which is influenced by Khmer or Lopburi art
style. In the case of the Twelve Buddhas or any other numbering Buddhas they
were named according to the appeared numbers of Buddha statutes. The conceptual
way in creating many Buddha statues is mainly based on the belief in the past
Buddhas.(Sakchai Sai Sing (2013: 52). It
correspondes
to
the views of Pen Supa Sukata Jai-in and Niphon Suksommanokul (2006: 11) that
the creation of such a numerous of votive tablets has reflected to Mahayana
Buddhist idea that emphasized the worship of many past Buddhas having been
popular in South East Asia.
2. The
Past Buddhas shown in the wooden panel votive tablets
The
wooden panel votive tablets are the elaborately Lan
Na Buddhist arts blended painting, sculpture and handicrafts together in
harmony and beauty. They were set the popper several tiny Buddha images on them
being as the representative symbols of the belief in the past Buddhas. The tiny
Buddha images are arranged in a row of wooden frames that were made up the façade
form or other wooden forms. The craftsman, then, draw a beautifully gilded
lacquer pattern.
Each
Buddha image in a wooden panel is built as a printed sitting posture, or in the cross-legged sitting
posture on
a throne or on a supine lotus platform. In some places it is a walking posture
or standing posture. Some places the Buddha images are in reclining posture. They
cladded the robe with one shoulder opened. There were the glory of fire on
their heads. They all were the same sizes and Buddha’s characters throughout
the plate. The Buddha images were made by local materials such as lead, mixed
metal, chased
with
silver and gold leaf. They were carved with wood, ivory and water buffalo horns.
They are admired as a Uddesika Jetiya which being made up to offer as a Buddha’s
worship according to the belief in the merit’s advantage in creating
the Buddha image. Having completed, they are presented to the temple and
enshrined on the platform or on the altar together with the main Buddha statute
in the Vihara.
From
the survey of each wooden panel votive tablet made by Lan Na
people and still remains in the present, as found in Wat Phrathat, Lampang
Luang, Wat Pong Sanuk, Lampang Province, and Luang Temple, Phrae Province,
etc.. Each set of the wooden panel votive tablet was differently contained either
many numerous Buddha images or a very few numerous Buddha images such as 5
Buddha images, 25 Buddha images, 28 Buddha images, 29 Buddha images, 30 Buddha
images, 33 Buddha images, 60 Buddha images, 200 Buddha images, so on and so
forth.
Lan Na people had not only made up the wooden votive tablets
in the facade art style, but, they all so had made up the votive tablets placed
on the sag wall around the Vihara. For example, the Vihara of 1,000 Bhuddha
Statutes, Pong Sanuk Temple, Wiang Nua Subdistrict, Muang District, Lampang
Province was posited many past Buddha amulets on all sides of the temple's sag
wall. They cannot be counted the exact numbers, but, they were collectively
called “A Thousand Buddha”.
Furthermore,
in Wat Phra That Hariphunchaya Waramahavihara, Lamphun Province, there is also
a Vihara of “A Thousand Buddha” located behind the Vihara of “Lavo Buddha”. Whereby
the four wooden votive tablets of the past Buddhas were placed on. Each of them
was contained of a plenty past Buddha images.This reflects the worshiping concept to many past
Buddhas in Lan Na culture.
3. The Past Buddha Statute shown in
the Vihara’s mural Painting.
The
mural Paintings of Lan Na Vihara, are the other areas that Lan Na people preferred
to utilize as places to transmit beliefs about the Buddha. Some viharas had
been painted the history of the Buddha. Some places draw different patterns
those imagined as being divine objects related to the Buddha, such as the divine
flowers
the ideal animals, The Ket Kaew
Chulamani Chetiya and so on. The belief in the past Buddhas is another
popular thing to be presented through this area as well. The craftsmen often
make up patterns of the past Buddha near by the main Buddha statue which is a
symbol of the present Buddha. They may draw patterns on the back wall of Vihara
behind the main Buddha statute, or on the two side walls of the main Buddha
statute. All most of them are the paintings of the gold gilded lacquered
patterns on a vermilion red background calledas “Lai Kham” (a golden patturn).
The followings are the Lan Na Vihara with the paintings of the Past Buddhas:
1.
The Chamadhevi Vihara, Pong Yang Khok Temple, Pong Yang Khok Sub-district, Hang
Chat District, Lampang Province was assumed to be built after 2275 B.E. (Woralan
Bunyasurat, 2001: 144). On the top of the 2 sag wooden walls of the hall near
by the main Buddha statute, there are a gold gilded lacquer pattern of 27 past
Buddha’s images in sitting posture inside the façade arch.
If the main Buddha statue is summed up in group. They will be 28
Buddhas.
2. The Main Vihara,
Wat Wiang, Lom Raet Subdistrict, Thoen District, Lampang Province was assumed
that it was built up in the end of the 22nd Buddhist century (Woralan
Bunyasurat, 2001: 176). The righten side wall of the Arch gate was patterned with a gilded lacquer painting of
the past Buddhas in sitting posture on the platform inside the facade
arch with a radius above. There are 2 rows of mural paintings. Each row is
fixed with 6 Buddha images. Totally they are 12 Buddha images. There are the
other 2 Budha images on the back side of the Arch gate. Hereby there are 14 Buddha
images.
3. The Vihara, Wat
Prasat, Sri Phum Subdistrict, Muang District, Chiang Mai Province was assumed
that it was built up before B.E.2035 (Woralan Bunyasurat, 2001: 206). It was
built up with masonry and mortar complied with woods. Its walls are painted
with red color. The gilded lacquer patterns of the past Buddha’s images in
sitting posture on the Bodhi throne are placed alternately with black alms bowls
in the middle separated by each frame. On the left wall of the main Buddha statues
there are 4 rows of past Buddha images, each of which is contained 10 Buddha’s
images. They are 40 Buddhas in total. On the righten side wall there are all so
4 rows. In each row is containe the 8 buddha’s images. Totally they are 32
Buddha images. In the other place, the inner part of the main arch gate, there
are also the painting of 20 past Buddha images. They are all 92 paintings of
the past Buddha on the Vihara’s walls. In
addition, there are also a number of wooden panel votive tablets lining up the
Vihara's wall on the upper part of the arch gate up to the front of the wooden
roof.
The idea of the number of past
Buddhas in the Lan Na Buddhist arts
The
more or less numbers of Buddhas had been differently varied as shown in Lan Na
Buddhist arts, i.e., in the burn-clay votive tablets, the wooden panel votive
tablets and in the temple murals paintings. They are the way of belief about the
Buddhas those had arisen before Gotama the present Buddha. These Buddhas can be classified according to
the connected relationship to Gotama the Buddha as follows:
1.
The 27 Buddhas are
denoting 27 past Buddhas those Bodhisatta had found and performed his perfections in the Buddha’s bureau during the period of the physical and Verval
Aspirations about 4 Uncountable and 100,000 Eons. These past Buddhas are
divided into 2 classes:
1.1 The past Buddhas who did not give
their prophecies to Bodhisatta, They were the 3 Buddhas in the past named
as Taṇhankara, Medhankara and Saraṇankara. Thse Buddhas arose in Sara Eon, the same Eon od Dipankara whom
Bodhisatta had found and wishes Buddhahood in the presence of the Buddha. But
those three past Buddhas did not give him any their prophecies because the
eight Dhamm virtues are not yet
complete.
1.2 The past Buddha who gave their prophecies
to the Bodhisatta. They were the 24 Buddhas in the past whom Bodhisatta had
met and declared his wish to be the next Buddha in front of them. Those
Buddhas, then, had given their prophecies to Bodhisatta that he will enlighten
as tyhe future Buddha names as Gotama. The followings are those Buddha namely:
Dîpankara, Kondhaññna, Maŋgala, Sumana, Revata, Sobhita, Anomadassi, Paduma,
Nāradha, Padummuttara, Sumedha, Sujata, Piyadassî, Atthadassî, Dhammadassî,
Siddhattha, Tissa, Pussa, Vipassî, Sikhî, Vessabhû, Kakusanda,
Konāgamana, and
Kassapa.
2.
The numbers of 28 Buddhas classified as they are the above mentioned 27
Buddhas in the past and included Gotama making totally 28 Buddhas.
3.
The Numbers of 25 Buddhas are classified as 24 past Buddhas who had given
prophecies to Bodhisatta and counted with the Gotama making 25 Buddhas.
4.
The numbers of 5 Buddhas those arose in the same Bhadara Eon composed of
the 3 past Buddhas, one present Buddha and another one Buddha in the future
being orderly arranged as their occurrences; the Kakusanda, Konagamana,
Kassapa, Gotama amd Ariyametteyya.
5. The many numbers or the
less numbers of past Buddhas those are varied unto the uncountable numbers
are the symbols of beliefs about the plenty past Buddhas those were met by
Bodhisatta since the periods of his Mental inspiration about 7 uncountable
Eons, the Verbal declaration around 9
uncountable Eons, his Physical and
Verbal declaration around 4 uncountable and 100,000 Eons.
From
the above numerous ideas of the past Buddhas in Lan Na Buddhist arts, it can
be seen that Gotama; the present Buddha is the center of beliefs about the
Buddhas in all three times. This story was told through his three knowledges
namely:
the knowledge of the
past
(Atitaṃsaňāṇa), the knowledge of the present, (Paccupannaṃsaňāṇa) and the knowledge of
the future (Anāgatanṃsaňāṇa).
Conclusion
The
numbers of past Buddhas as shown in Lan Na Buddhist arts in the burn-clay
votive tablets, in the wooden panel votive tablets and in the temple mural
paintings are consistent with the Lan Na Buddhist literature’s contents. That
was influenced by the compositions of Theravada Buddhist scriptures and Sodattaki
Mahānidāna on which the Mahayana ideas are mixed. Actually, it mentioned 512,027
past Buddhas whom the Bodhisatta had met during his performance for perfections
about 20 countless and ten thousands Eons. While in Theravada
scriptures, even the idea about the numerous Buddhas was consistent with that
of the Mahayana, but when identifying the names, it usually identifies only 27 past Buddhas whom the Bodhisatta met during his performance
for perfections with physical and verbal inspirations only about 4
countless ans hunred
thousands Eons.
Sameorchai
Poonsuwan (2018: 72-82) had mentioned about the relationship of Sodattaki
Mahānidāna in Buddhist cultures between Burmese in Pugan period and Lan Na
period. Pugam of ancient Burmese Kingdom, around 11th and 13th
centuries was influenced by arts and iconography from
Mahayana Buddhism during the Pala dynasty. Many of the ancient Pugam Buddhist
archaeological sites contain the mural paintings about the history of the
Buddha showing their relationship with Sodatataki mahānidāna. They are popularly
showing 2 sets of murals paintings telling stories of the past Buddhas. They
are the painting of the 28 past Buddhas with sitting posture or in the posture
of giving the first sermon. It came with the historical picture of each Buddha
clearly related to the contents of “Buddhavaṃsa scripts” and the countless
numbers of the past Buddha images having presented with 28 Buddhas.
This
is telling the manifested hundred thousands of the Past Buddhas whom the
Bodhisatta had met, and settled his inspiration to be the next Buddha prior
than the times of 28 Buddhas. In the case of Lan Na Buddhist literature, the
contents of Sodattakimahānidāna had been referred since the latter half of the
15th C.E. century.
On
these perspectives, it can be assumed that the images of the past Buddhas had
shown through the burn-clay votive tablets, the wooden panel votive tablets and
the patterns of mural paintings in Lan Na culture may have been influenced by Pugam's
mural painting cultures which are as well related to the contents of Sodattakimahānidāna.
From
the past, Lan Na Kingdom had a close relationship on Buddhism with Pugam
before. As Sameorchai Pulsuwan (2018: 83) had assumed that Lan Na people may
have been influenced by Sodattakimahānidāna from the Aran sect of Theravada Buddhism
which influenced in the central Irrawaddy River basin until the 16th C.E.century.
In those times, Lan Na Kingdom had keep in constantly touch via Buddhism with
Pugam. The reason is that Pugam was one of the pilgrimage sites in the region. The inscription’s evidence was found in the
Shwe Sikong Pagoda mentioning about Maha Swami Thera who was the guru of King
Yon (Lan Na) had traveled to worship Phra Mahathat Jetiya in Pugam in the
second half of the 14th C.E.century and raised up the fund for the
restoration of the Jetiya.
Even
though in manifest scriptures and literatures had denoted many past Buddhas,
but the only 27 Past Buddhas having arisen during the Bodhisatta's performing
his physical and Verbal inspirations around the 4 countless and 100,000 Eons
were attentively interested from Lan Na people. This is because of a relationship in giving
the Buddha prophecies to Bodhisattva before his having enlightened as the
present Buddha.
On
this stand point, Lan Na people are preferred to make up aplenty of the Buddhist
arts, the burn-clay votive tablets, the wooden panel votive tablets and murals paintings
about the past Buddhas for enshrining and adorning both in the Jetiyas, the
Buddha’s Altars, and on the Vihara walls near by the main Buddha statute. This
is a symbol of the present Buddha aiming to communicate the relationship
between the Gotama Buddha and those past Buddhas during his long times in
performing to fulfill perfections as a Bodhisatta.
---------------
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