Difference between revisions of "The Stupa - Yoga's Sacred Architecture"
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<poem> | <poem> | ||
− | In every part of the [[World]] the landscape has its own distinctive appearance, shaped both by the forces of nature and the design of mankind. To the natural scene - mountains, hills, plains, barren deserts or lush forests - human beings contribute architectural features of many kinds: mud huts, magnificent pyramids, soaring church spires or the modern clusters of skyscrapers. | + | In every part of the [[World]] the landscape has its [[own]] {{Wiki|distinctive}} [[appearance]], shaped both by the forces of [[nature]] and the design of mankind. To the natural scene - [[mountains]], hills, plains, barren deserts or lush [[forests]] - [[human beings]] contribute architectural {{Wiki|features}} of many kinds: mud huts, magnificent pyramids, soaring {{Wiki|church}} spires or the {{Wiki|modern}} [[clusters]] of skyscrapers. |
− | TsarangSince its beginnings in [[India]], [[Buddhism]] has spread over an area extending from the deserts of Central Asia in the west to the islands of [[Japan]] in the east, and from the icy regions of Tibet in the north to the sun-drenched tropical island of Sri Lanka in the south. The natural features of all these regions are very different, and so are their architectural features. But wherever you travel throughout this vast area, there is one type of architectural monument which is everywhere; whether on bleak mountain tops, in pleasant valleys, in the midst of vast plains, or even by the seashore. This ubiquitous Buddhist monument is the [[Stupa]]. | + | TsarangSince its beginnings in [[India]], [[Buddhism]] has spread over an area extending from the deserts of {{Wiki|{{Wiki|Central Asia}}}} in the {{Wiki|west}} to the islands of [[Japan]] in the {{Wiki|east}}, and from the icy regions of [[Tibet]] in the {{Wiki|north}} to the sun-drenched tropical [[island]] of [[Sri Lanka]] in the {{Wiki|south}}. The natural {{Wiki|features}} of all these regions are very different, and so are their architectural {{Wiki|features}}. But wherever you travel throughout this vast area, there is one type of architectural monument which is everywhere; whether on bleak mountain tops, in [[pleasant]] valleys, in the midst of vast plains, or even by the seashore. This {{Wiki|ubiquitous}} [[Buddhist]] monument is the [[Stupa]]. |
− | There is an interesting legend behind the origin of the [[Stupa]]. The ancient text 'Maha-parinibbana [[Sutta]]' tells us that it was [[ | + | There is an [[interesting]] legend behind the origin of the [[Stupa]]. The [[ancient]] text '[[Maha-parinibbana]] [[Sutta]]' tells us that it was The [[Buddha]] himself who outlined the basic design of the [[Stupa]]. The story begins at [[Buddha]]'s deathbed. When he [[realized]] that [[Death]] was imminent, [[Buddha]] gave instructions about the disposition of his [[Body]]. He said that his [[Body]] should be {{Wiki|cremated}}, and the [[relics]] divided up and enclosed in four different monuments. These monuments were to be erected at the following places, marking important milestones in The [[Buddha]]'s [[Spiritual]] journey: |
− | 1). Lumbini: The place of [[Buddha]]'s birth. | + | 1). [[Lumbini]]: The place of [[Buddha]]'s [[birth]]. |
− | 2). Bodhgaya: Where [[ | + | 2). [[Bodhgaya]]: Where The [[Buddha]] [[attained]] [[Enlightenment]] under the [[Bodhi tree]]. The [[Buddha]] at [[Sarnath]] |
− | 3). [[Sarnath]]: Where he gave his first teaching. | + | 3). [[Sarnath]]: Where he gave his first [[teaching]]. |
− | 4). Kushinagar: Place of [[Buddha]]'s [[Death]] ([[Parinirvana]]) | + | 4). [[Kushinagar]]: Place of [[Buddha]]'s [[Death]] ([[Parinirvana]]) |
− | SanchiHis intrigued disciples naturally asked what [[Form]] this monument should take. In reply [[ | + | SanchiHis intrigued [[disciples]] naturally asked what [[Form]] this monument should take. In reply The [[Buddha]] did not say anything, but gave a {{Wiki|practical}} demonstration. He took his outer [[yellow robe]] folded it in two and two until it formed a rough cube. Then he took his begging-bowl, which of course was round, turned it upside down, and put it on top of the [[robes]]. 'Make the [[Stupa]] like this,' he said. Indeed till today, whatever its geographical location, the basic [[Form]] of the [[Stupa]] retains this [[elemental]] [[character]]. |
[[Stupa]] | [[Stupa]] | ||
− | Fundamentally, a [[Stupa]] is essentially made up of the following five constituents: | + | Fundamentally, a [[Stupa]] is [[essentially]] made up of the following five constituents: |
a). A square base | a). A square base | ||
b). A hemispherical dome | b). A hemispherical dome | ||
c). A conical spire | c). A conical spire | ||
− | d). A crescent moon | + | d). A [[crescent moon]] |
e). A circular disc | e). A circular disc | ||
− | Each of these components is rich in metaphoric content and is identified with one of the five cosmic elements said to make up the entire manifested existence. These are earth, water, [[Fire]], air and space. | + | Each of these components is rich in {{Wiki|metaphoric}} content and is identified with one of the five [[cosmic]] [[elements]] said to make up the entire [[manifested]] [[existence]]. These are [[earth]], [[water]], [[Fire]], [[air]] and [[space]]. |
[[Torana]] | [[Torana]] | ||
− | Square Base: This symbolizes the element earth. The phenomenal [[World]] spreads out in the four directions and the square with its four sides is an appropriate metaphor for the same. These four directions define the earth and bind it in order. Hence the square is the perfect [[Symbol]] to denote the terrestrial [[World]]. Often a [[Stupa]] would have four gates, one for each direction, and various deities protecting the specific directions would stand guard over them. | + | [[Square]] Base: This [[symbolizes]] the [[element]] [[earth]]. The [[phenomenal]] [[World]] spreads out in the four [[directions]] and the square with its four sides is an appropriate {{Wiki|metaphor}} for the same. These four [[directions]] define the [[earth]] and bind it in [[order]]. Hence the square is the {{Wiki|perfect}} [[Symbol]] to denote the terrestrial [[World]]. Often a [[Stupa]] would have four gates, one for each [[direction]], and various [[deities]] protecting the specific [[directions]] would stand guard over them. |
− | The Hemispherical Dome: The main mass of the classical [[Form]] of the [[Stupa]] consists of a solid, hemispherical dome. Early [[Buddhist texts]] refer to this as the garbha, meaning 'womb' or 'container.' With this reference the [[Stupa]] as a whole is called the 'dhatu-garbha.' Dhatu is [[Sanskrit]] for element. Herein lies the derivation of the word 'dagoba,' which is the short [[Form]] of dhatu-garbha and which is the most usual designation of the [[Stupa]] in Sri Lanka. Thus this section of a [[Stupa]] is an allusion to the primordial, creative waters. Indeed in all the major cosmologies, [[Life]] arose from the archetypal waters, a female [[Symbol]] of formless potentiality. The dome by [[Virtue]] of representing the womb from which issues all manifested existence signifies this creative matrix. | + | The Hemispherical Dome: The main {{Wiki|mass}} of the classical [[Form]] of the [[Stupa]] consists of a solid, hemispherical dome. Early [[Buddhist texts]] refer to this as the [[garbha]], meaning '[[womb]]' or 'container.' With this reference the [[Stupa]] as a whole is called the '[[dhatu-garbha]].' [[Dhatu]] is [[Sanskrit]] for [[element]]. Herein lies the derivation of the [[word]] '[[dagoba]],' which is the short [[Form]] of [[dhatu-garbha]] and which is the most usual designation of the [[Stupa]] in [[Sri Lanka]]. Thus this section of a [[Stupa]] is an allusion to the [[primordial]], creative waters. Indeed in all the major {{Wiki|cosmologies}}, [[Life]] arose from the {{Wiki|archetypal}} waters, a {{Wiki|female}} [[Symbol]] of [[formless]] potentiality. The dome by [[Virtue]] of representing the [[womb]] from which issues all [[manifested]] [[existence]] {{Wiki|signifies}} this creative [[matrix]]. |
− | HiranyagarbhaIn a beautiful [[Ritual]] of devotion, the hemisphere of the [[Stupa]] is identified with the golden cosmic egg of Yogic [[Thought]] called 'Hiranyagarbha.' | + | HiranyagarbhaIn a [[beautiful]] [[Ritual]] of [[devotion]], the {{Wiki|hemisphere}} of the [[Stupa]] is identified with the golden [[cosmic]] egg of [[Yogic]] [[Thought]] called '[[Hiranyagarbha]].' |
− | Hiranya is [[Sanskrit]] for golden and garbha, as mentioned above, means womb. According to [[Vedic cosmology]], this golden womb was the nucleus from which all creation evolved. As a matter of fact it was often the practice to carve small recesses in the curved wall of the [[Stupa]] to hold rows of oil lamps, so that the whole mound may be illuminated at night. The effect was to render the abstract concept of the golden womb or egg into a visible reality. | + | [[Hiranya]] is [[Sanskrit]] for golden and [[garbha]], as mentioned above, means [[womb]]. According to [[Vedic cosmology]], this golden [[womb]] was the nucleus from which all creation evolved. As a {{Wiki|matter}} of fact it was often the practice to carve small recesses in the curved wall of the [[Stupa]] to hold rows of oil lamps, so that the whole mound may be [[illuminated]] at night. The effect was to render the abstract {{Wiki|concept}} of the golden [[womb]] or egg into a [[visible]] [[reality]]. |
− | The dome is a [[Symbol]] of both the womb and the tomb. According to Buddhist [[Thought]], before we are invested with a material [[Body]] our souls are free and fully alive in the [[Spiritual]] [[World]]. Our physical conception in the womb follows our [[Death]] in the [[Spiritual]] realm. The womb is thus the [[Symbol]] of the tomb. This is the metaphysical counterpart of the historical view that the [[Stupa]] evolved out of the ancient funerary mound. In this context the [[Stupa]] is often referred to as the '[[Chaitya]],' a word which is derived from the [[Sanskrit]] word for funeral pyre 'chita.' | + | The dome is a [[Symbol]] of both the [[womb]] and the tomb. According to [[Buddhist]] [[Thought]], before we are invested with a material [[Body]] our [[souls]] are free and fully alive in the [[Spiritual]] [[World]]. Our [[physical]] {{Wiki|conception}} in the [[womb]] follows our [[Death]] in the [[Spiritual]] [[realm]]. The [[womb]] is thus the [[Symbol]] of the tomb. This is the [[metaphysical]] counterpart of the historical [[view]] that the [[Stupa]] evolved out of the [[ancient]] funerary mound. In this context the [[Stupa]] is often referred to as the '[[Chaitya]],' a [[word]] which is derived from the [[Sanskrit]] [[word]] for [[funeral]] pyre 'chita.' |
− | Chedi | + | [[Chedi]] |
− | The Conical Spire: This signifies the element of [[Fire]]. [[Fire]], of course, always rises upwards. When we kindle a [[Fire]] it never burns downwards but always goes straight up. So [[Fire]] symbolizes energy ascending upwards. It represents [[Wisdom]] which burns away all [[Ignorance]]. | + | The Conical Spire: This {{Wiki|signifies}} the [[element]] of [[Fire]]. [[Fire]], of course, always rises upwards. When we kindle a [[Fire]] it never burns downwards but always goes straight up. So [[Fire]] [[symbolizes]] [[energy]] ascending upwards. It represents [[Wisdom]] which burns away all [[Ignorance]]. |
− | The Crescent Moon: This denotes the element of air. Air has the capacity to expand. The female of the species shares this property with air. This is exemplified in the expansion of a pregnant woman. Indeed the crescent moon is an ancient [[Symbol]] denoting femininity since the waxing and waning of the moon is said to mirror a woman's menstrual cycle. | + | The Crescent {{Wiki|Moon}}: This denotes the [[element]] of [[air]]. [[Air]] has the capacity [[to expand]]. The {{Wiki|female}} of the {{Wiki|species}} shares this property with [[air]]. This is exemplified in the expansion of a {{Wiki|pregnant}} woman. Indeed the crescent {{Wiki|moon}} is an [[ancient]] [[Symbol]] denoting {{Wiki|femininity}} since the waxing and waning of the {{Wiki|moon}} is said to [[mirror]] a woman's menstrual cycle. |
− | The Circle: The perfect shape of the circle expresses wholeness and totality. It represents the principle which has no end or beginning. It thus signifies the element of space. | + | The Circle: The {{Wiki|perfect}} [[shape]] of the circle expresses [[wholeness]] and {{Wiki|totality}}. It represents the [[principle]] which has no end or beginning. It thus {{Wiki|signifies}} the [[element]] of [[space]]. |
− | [[Buddha]] ShakyamuniFinally crowning the apex of the [[Stupa]] is a jewel like shape. This surmounts all the five elements and hence expresses a higher state of reality than that characterized by these elements. | + | [[Buddha]] ShakyamuniFinally crowning the apex of the [[Stupa]] is a [[jewel]] like [[shape]]. This surmounts all the [[five elements]] and hence expresses a higher [[state]] of [[reality]] than that characterized by these [[elements]]. |
− | This protruding jewel is found not only on top of [[Stupas]] but also crowns the heads of [[Buddha]]-images of all countries and all periods. This is the ushnisha which sometimes looks like a flame springing from [[Buddha]]'s head, and sometimes like a [[Lotus]] bud growing there. | + | This protruding [[jewel]] is found not only on top of [[Stupas]] but also crowns the heads of [[Buddha]]-images of all countries and all periods. This is the [[ushnisha]] which sometimes looks like a flame springing from [[Buddha]]'s {{Wiki|head}}, and sometimes like a [[Lotus]] bud growing there. |
− | This protuberance signifies the Highest Reality, namely [[ | + | This protuberance {{Wiki|signifies}} the [[Highest]] [[Reality]], namely the [[enlightenment]] of the Great [[Buddha]] himself. Hence in a [[sense]], the journey to the [[Stupa]]'s top is a process of [[Spiritual]] ascension, where the [[jewel]] {{Wiki|lying}} at the end of the quest is [[Nirvana]] itself. |
− | The identification of the highest point in the [[Stupa]] with the highest point in [[Buddha]]'s image leads us to ponder as to whether a more deeper correspondence can be established between the [[Stupa]] and [[Buddha]]'s physical [[Body]]. According to Yogic [[Thought]], the five elements are correlated with the five psychic centers within the human [[Body]]. This correlation is as follows: | + | The identification of the [[highest]] point in the [[Stupa]] with the [[highest]] point in [[Buddha]]'s image leads us to ponder as to whether a more deeper correspondence can be established between the [[Stupa]] and [[Buddha]]'s [[physical]] [[Body]]. According to [[Yogic]] [[Thought]], the [[five elements]] are correlated with the five [[psychic]] centers within the [[human]] [[Body]]. This correlation is as follows: |
− | 1). The earth (prithvi) is the lowest psychic center. This is located between the feet and the knees. | + | 1). The [[earth]] ([[prithvi]]) is the lowest [[psychic]] center. This is located between the feet and the knees. |
− | 2). Water (apas) lies between the knees and the anus. | + | 2). [[Water]] (apas) lies between the knees and the anus. |
− | 3). [[Fire]] (agni) lies between the anus and the [[Heart]]. | + | 3). [[Fire]] ([[agni]]) lies between the anus and the [[Heart]]. |
− | 4). Air (vayu) lies between the [[Heart]] and the middle of the eyebrows. | + | 4). [[Air]] ([[vayu]]) lies between the [[Heart]] and the middle of the [[eyebrows]]. |
− | 5). Space (akasha) lies between the middle of the eyebrows to the top of the head. | + | 5). [[Space]] ([[akasha]]) lies between the middle of the [[eyebrows]] to the top of the head. |
− | Finally above the head is the final seat of [[Enlightenment]]. This is identified with the Sahasrara chakra, which is said to be the seat of pure [[Consciousness]] or ultimate bliss. This is [[ | + | Finally above the {{Wiki|head}} is the final seat of [[Enlightenment]]. This is identified with the [[Sahasrara]] [[chakra]], which is said to be the seat of [[pure]] [[Consciousness]] or [[Wikipedia:Absolute (philosophy)|ultimate]] [[bliss]]. This is The [[Buddha]]' s [[ushnisha]]. |
[[Stupas]] and Image of [[Buddha]] | [[Stupas]] and Image of [[Buddha]] | ||
− | According to the principles of yoga, our composite selves are made of two superimposing constituents. These are the physical self, known as the gross [[Body]], and the other is the higher self, which is the microcosm of the [[Universe]], known as the subtle [[Body]]. The subtle and the gross bodies are both analogues of each other. We have seen above how the subtle [[Body]] is presented in the [[Stupa]]. | + | According to the {{Wiki|principles}} of [[yoga]], our composite selves are made of two superimposing constituents. These are the [[physical]] [[self]], known as the gross [[Body]], and the other is the higher [[self]], which is the [[microcosm]] of the [[Universe]], known as the {{Wiki|subtle}} [[Body]]. The {{Wiki|subtle}} and the gross [[bodies]] are both analogues of each other. We have seen above how the {{Wiki|subtle}} [[Body]] is presented in the [[Stupa]]. |
− | [[ | + | The [[Buddha]]'s [[physical]] [[Form]] too finds an {{Wiki|echo}} in the [[Stupa]]. In such a [[visualization]], the base is [[Buddha]]'s {{Wiki|legs}}, the dome is his torso, and to represent the {{Wiki|head}} a second cubical {{Wiki|structure}} is added between the dome and the spire. This cube known as the [[harmika]] is exactly at the place where [[Buddha]]'s [[eyes]] should be. This can be seen in the typical [[Stupas]] of [[Nepal]] where, on each side of the [[harmika]], a pair of [[eyes]] is painted. |
Conclusion | Conclusion | ||
− | There is an amusing story told about an old man who had led a rather negative and unhelpful [[Life]], marked by [[Constant]] conflicts over petty matters. Nevertheless, he wanted to become a [[Monk]] for good luck. The head [[Monks]], however hard they tried, were having difficulty ordaining him, since tradition decreed that a prospective candidate for priesthood need to have performed at least one good deed. Mobilizing all their clairvoyant powers and searching even his former lives, they could find no good deed. | + | There is an amusing story told about an old man who had led a rather negative and unhelpful [[Life]], marked by [[Constant]] conflicts over petty matters. Nevertheless, he wanted to become a [[Monk]] for good [[luck]]. The {{Wiki|head}} [[Monks]], however hard they tried, were having difficulty ordaining him, since [[tradition]] decreed that a prospective candidate for priesthood need to have performed at least one good [[deed]]. Mobilizing all their {{Wiki|clairvoyant}} [[powers]] and searching even his former [[lives]], they could find no good [[deed]]. |
− | Not wanting to give up, the compassionate [[Monks]] then took him to see [[ | + | Not wanting to give up, the [[compassionate]] [[Monks]] then took him to see The [[Buddha]] himself. Now The [[Buddha]]'s [[Power]] of {{Wiki|clairvoyance}} was far more powerful than even the most saintliest of his followers. Looking back the man's many, many lifetimes The [[Buddha]] finally said, '[[Ah]]! It's all right, you can ordain him - I've found something good in his {{Wiki|past}}.' 'What is it?' they enquired. The [[Buddha]] replied, 'Long ago, he was [[reborn]] as an ant, and he came with his {{Wiki|clan}} to the great [[Stupa]] of [[Bodhnath]] ([[Nepal]]), where some [[people]] had [[gathered]] to pay homage to the monument. At the [[moment]] when the {{Wiki|head}} of the [[family]] began his pious circumambulations, our man here was crawling across his boot, trying to get more crumbs. He was able to hang on to the boot while the [[pilgrim]] made it three times around the [[Stupa]]! This was a [[meritorious]] [[deed]], good enough to gain a [[monkhood]] for him.' |
− | In the traditional view, a building needs to satisfy both the physical and metaphysical needs of man. As an expression of artistic intent, it will elaborate upon the manner in which phenomenal [[World]] relates to the [[Spiritual]] one. Architecture being by nature three-dimensional is eminently suitable to act as a metaphor, since any construct is bound to be rooted in the phenomenal [[World]], and then must begin the ascent to the Higher levels. | + | In the [[traditional]] [[view]], a building needs to satisfy both the [[physical]] and [[metaphysical]] needs of man. As an expression of artistic intent, it will elaborate upon the [[manner]] in which [[phenomenal]] [[World]] relates to the [[Spiritual]] one. [[Architecture]] [[being]] by [[nature]] three-dimensional is eminently suitable to act as a {{Wiki|metaphor}}, since any construct is [[bound]] to be [[rooted]] in the [[phenomenal]] [[World]], and then must begin the [[ascent]] to the Higher levels. |
− | The [[Stupa]] by [[Virtue]] of being the monument of [[Buddha]]'s choice is deemed especially sacred as exemplified in the above story. The [[Spiritual]] [[Merit]] of this monument is enhanced no less by it being a reflection of the Cosmic Man, visualized in the ideals of Yoga, who resides in each of us. | + | The [[Stupa]] by [[Virtue]] of [[being]] the monument of [[Buddha]]'s choice is deemed especially [[sacred]] as exemplified in the above story. The [[Spiritual]] [[Merit]] of this monument is enhanced no less by it [[being]] a {{Wiki|reflection}} of the [[Cosmic]] Man, [[visualized]] in the ideals of [[Yoga]], who resides in each of us. |
References and Further Reading | References and Further Reading | ||
− | Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs: Boston, 1999. | + | [[Beer, Robert]]. The {{Wiki|Encyclopedia}} of [[Tibetan]] [[Symbols]] and Motifs: [[Boston]], 1999. |
− | Cooper, J.C. An Illustrated Encyclopaedia of Traditional Symbols: London, 1999. | + | Cooper, J.C. An Illustrated Encyclopaedia of [[Traditional]] [[Symbols]]: {{Wiki|London}}, 1999. |
− | Cummings, Joe. Buddhist [[Stupas]] in Asia: Victoria, 2001. | + | Cummings, Joe. [[Buddhist]] [[Stupas]] in {{Wiki|Asia}}: Victoria, 2001. |
− | Eliade, Mircea. Yoga (Immortality and Freedom): Princeton, 1973. | + | [[Wikipedia:Mircea Eliade|Eliade]], Mircea. [[Yoga]] ([[Immortality]] and Freedom): [[Princeton]], 1973. |
− | Hamani, Laziz, and Claude B. Levenson. Symbols of [[Tibetan Buddhism]]: Paris, 1996. | + | Hamani, Laziz, and Claude B. Levenson. [[Symbols]] of [[Tibetan Buddhism]]: {{Wiki|Paris}}, 1996. |
− | Landaw, Jonathan., and Weber, Andy. Images of [[Enlightenment]] (Tibetan [[Art]] in Practice): New York, 1993. | + | Landaw, Jonathan., and Weber, Andy. Images of [[Enlightenment]] ([[Tibetan]] [[Art]] in Practice): {{Wiki|New York}}, 1993. |
− | Maxwell, T.S. The Gods of Asia (Image, Text, and Meaning): New Delhi, 1997. | + | [[Maxwell]], T.S. The [[Gods]] of {{Wiki|Asia}} (Image, Text, and Meaning): {{Wiki|New Delhi}}, 1997. |
− | Sangharakshita. The Drama of Cosmic [[Enlightenment]] (Parables, Myths, and Symbols of the White [[Lotus Sutra]]): Glasgow, 1993. | + | [[Sangharakshita]]. The Drama of [[Cosmic]] [[Enlightenment]] ([[Parables]], [[Myths]], and [[Symbols]] of the White [[Lotus Sutra]]): [[Glasgow]], 1993. |
− | Sangharakshita. [[Tibetan Buddhism]] An Introduction: Birmingham, 1999. | + | [[Sangharakshita]]. [[Tibetan Buddhism]] An Introduction: {{Wiki|Birmingham}}, 1999. |
− | Snodgrass, Adrian. The Symbolism of the [[Stupa]]: Delhi, 1992. | + | Snodgrass, Adrian. The [[Symbolism]] of the [[Stupa]]: [[Delhi]], 1992. |
− | Tresidder, Jack. The Hutchinson Dictionary of Symbols: Oxford, 1997. | + | Tresidder, Jack. The Hutchinson {{Wiki|Dictionary}} of [[Symbols]]: [[Oxford]], 1997. |
− | Varenne, Jean. Yoga and the Hindu Tradition: Delhi, 1989. | + | Varenne, Jean. [[Yoga]] and the [[Hindu]] [[Tradition]]: [[Delhi]], 1989. |
</poem> | </poem> | ||
{{R}} | {{R}} | ||
+ | |||
[http://www.exoticindia.com/article/stupa www.exoticindia.com] | [http://www.exoticindia.com/article/stupa www.exoticindia.com] | ||
[[Category:Buddhist Terms]] | [[Category:Buddhist Terms]] | ||
[[Category:Stupas]] | [[Category:Stupas]] |
Latest revision as of 23:44, 14 January 2021
In every part of the World the landscape has its own distinctive appearance, shaped both by the forces of nature and the design of mankind. To the natural scene - mountains, hills, plains, barren deserts or lush forests - human beings contribute architectural features of many kinds: mud huts, magnificent pyramids, soaring church spires or the modern clusters of skyscrapers.
TsarangSince its beginnings in India, Buddhism has spread over an area extending from the deserts of [[Wikipedia:Central Asia|Central Asia]] in the west to the islands of Japan in the east, and from the icy regions of Tibet in the north to the sun-drenched tropical island of Sri Lanka in the south. The natural features of all these regions are very different, and so are their architectural features. But wherever you travel throughout this vast area, there is one type of architectural monument which is everywhere; whether on bleak mountain tops, in pleasant valleys, in the midst of vast plains, or even by the seashore. This ubiquitous Buddhist monument is the Stupa.
There is an interesting legend behind the origin of the Stupa. The ancient text 'Maha-parinibbana Sutta' tells us that it was The Buddha himself who outlined the basic design of the Stupa. The story begins at Buddha's deathbed. When he realized that Death was imminent, Buddha gave instructions about the disposition of his Body. He said that his Body should be cremated, and the relics divided up and enclosed in four different monuments. These monuments were to be erected at the following places, marking important milestones in The Buddha's Spiritual journey:
1). Lumbini: The place of Buddha's birth.
2). Bodhgaya: Where The Buddha attained Enlightenment under the Bodhi tree. The Buddha at Sarnath
3). Sarnath: Where he gave his first teaching.
4). Kushinagar: Place of Buddha's Death (Parinirvana)
SanchiHis intrigued disciples naturally asked what Form this monument should take. In reply The Buddha did not say anything, but gave a practical demonstration. He took his outer yellow robe folded it in two and two until it formed a rough cube. Then he took his begging-bowl, which of course was round, turned it upside down, and put it on top of the robes. 'Make the Stupa like this,' he said. Indeed till today, whatever its geographical location, the basic Form of the Stupa retains this elemental character.
Stupa
Fundamentally, a Stupa is essentially made up of the following five constituents:
a). A square base
b). A hemispherical dome
c). A conical spire
d). A crescent moon
e). A circular disc
Each of these components is rich in metaphoric content and is identified with one of the five cosmic elements said to make up the entire manifested existence. These are earth, water, Fire, air and space.
Torana
Square Base: This symbolizes the element earth. The phenomenal World spreads out in the four directions and the square with its four sides is an appropriate metaphor for the same. These four directions define the earth and bind it in order. Hence the square is the perfect Symbol to denote the terrestrial World. Often a Stupa would have four gates, one for each direction, and various deities protecting the specific directions would stand guard over them.
The Hemispherical Dome: The main mass of the classical Form of the Stupa consists of a solid, hemispherical dome. Early Buddhist texts refer to this as the garbha, meaning 'womb' or 'container.' With this reference the Stupa as a whole is called the 'dhatu-garbha.' Dhatu is Sanskrit for element. Herein lies the derivation of the word 'dagoba,' which is the short Form of dhatu-garbha and which is the most usual designation of the Stupa in Sri Lanka. Thus this section of a Stupa is an allusion to the primordial, creative waters. Indeed in all the major cosmologies, Life arose from the archetypal waters, a female Symbol of formless potentiality. The dome by Virtue of representing the womb from which issues all manifested existence signifies this creative matrix.
HiranyagarbhaIn a beautiful Ritual of devotion, the hemisphere of the Stupa is identified with the golden cosmic egg of Yogic Thought called 'Hiranyagarbha.'
Hiranya is Sanskrit for golden and garbha, as mentioned above, means womb. According to Vedic cosmology, this golden womb was the nucleus from which all creation evolved. As a matter of fact it was often the practice to carve small recesses in the curved wall of the Stupa to hold rows of oil lamps, so that the whole mound may be illuminated at night. The effect was to render the abstract concept of the golden womb or egg into a visible reality.
The dome is a Symbol of both the womb and the tomb. According to Buddhist Thought, before we are invested with a material Body our souls are free and fully alive in the Spiritual World. Our physical conception in the womb follows our Death in the Spiritual realm. The womb is thus the Symbol of the tomb. This is the metaphysical counterpart of the historical view that the Stupa evolved out of the ancient funerary mound. In this context the Stupa is often referred to as the 'Chaitya,' a word which is derived from the Sanskrit word for funeral pyre 'chita.'
Chedi
The Conical Spire: This signifies the element of Fire. Fire, of course, always rises upwards. When we kindle a Fire it never burns downwards but always goes straight up. So Fire symbolizes energy ascending upwards. It represents Wisdom which burns away all Ignorance.
The Crescent Moon: This denotes the element of air. Air has the capacity to expand. The female of the species shares this property with air. This is exemplified in the expansion of a pregnant woman. Indeed the crescent moon is an ancient Symbol denoting femininity since the waxing and waning of the moon is said to mirror a woman's menstrual cycle.
The Circle: The perfect shape of the circle expresses wholeness and totality. It represents the principle which has no end or beginning. It thus signifies the element of space.
Buddha ShakyamuniFinally crowning the apex of the Stupa is a jewel like shape. This surmounts all the five elements and hence expresses a higher state of reality than that characterized by these elements.
This protruding jewel is found not only on top of Stupas but also crowns the heads of Buddha-images of all countries and all periods. This is the ushnisha which sometimes looks like a flame springing from Buddha's head, and sometimes like a Lotus bud growing there.
This protuberance signifies the Highest Reality, namely the enlightenment of the Great Buddha himself. Hence in a sense, the journey to the Stupa's top is a process of Spiritual ascension, where the jewel lying at the end of the quest is Nirvana itself.
The identification of the highest point in the Stupa with the highest point in Buddha's image leads us to ponder as to whether a more deeper correspondence can be established between the Stupa and Buddha's physical Body. According to Yogic Thought, the five elements are correlated with the five psychic centers within the human Body. This correlation is as follows:
1). The earth (prithvi) is the lowest psychic center. This is located between the feet and the knees.
2). Water (apas) lies between the knees and the anus.
3). Fire (agni) lies between the anus and the Heart.
4). Air (vayu) lies between the Heart and the middle of the eyebrows.
5). Space (akasha) lies between the middle of the eyebrows to the top of the head.
Finally above the head is the final seat of Enlightenment. This is identified with the Sahasrara chakra, which is said to be the seat of pure Consciousness or ultimate bliss. This is The Buddha' s ushnisha.
Stupas and Image of Buddha
According to the principles of yoga, our composite selves are made of two superimposing constituents. These are the physical self, known as the gross Body, and the other is the higher self, which is the microcosm of the Universe, known as the subtle Body. The subtle and the gross bodies are both analogues of each other. We have seen above how the subtle Body is presented in the Stupa.
The Buddha's physical Form too finds an echo in the Stupa. In such a visualization, the base is Buddha's legs, the dome is his torso, and to represent the head a second cubical structure is added between the dome and the spire. This cube known as the harmika is exactly at the place where Buddha's eyes should be. This can be seen in the typical Stupas of Nepal where, on each side of the harmika, a pair of eyes is painted.
Conclusion
There is an amusing story told about an old man who had led a rather negative and unhelpful Life, marked by Constant conflicts over petty matters. Nevertheless, he wanted to become a Monk for good luck. The head Monks, however hard they tried, were having difficulty ordaining him, since tradition decreed that a prospective candidate for priesthood need to have performed at least one good deed. Mobilizing all their clairvoyant powers and searching even his former lives, they could find no good deed.
Not wanting to give up, the compassionate Monks then took him to see The Buddha himself. Now The Buddha's Power of clairvoyance was far more powerful than even the most saintliest of his followers. Looking back the man's many, many lifetimes The Buddha finally said, 'Ah! It's all right, you can ordain him - I've found something good in his past.' 'What is it?' they enquired. The Buddha replied, 'Long ago, he was reborn as an ant, and he came with his clan to the great Stupa of Bodhnath (Nepal), where some people had gathered to pay homage to the monument. At the moment when the head of the family began his pious circumambulations, our man here was crawling across his boot, trying to get more crumbs. He was able to hang on to the boot while the pilgrim made it three times around the Stupa! This was a meritorious deed, good enough to gain a monkhood for him.'
In the traditional view, a building needs to satisfy both the physical and metaphysical needs of man. As an expression of artistic intent, it will elaborate upon the manner in which phenomenal World relates to the Spiritual one. Architecture being by nature three-dimensional is eminently suitable to act as a metaphor, since any construct is bound to be rooted in the phenomenal World, and then must begin the ascent to the Higher levels.
The Stupa by Virtue of being the monument of Buddha's choice is deemed especially sacred as exemplified in the above story. The Spiritual Merit of this monument is enhanced no less by it being a reflection of the Cosmic Man, visualized in the ideals of Yoga, who resides in each of us.
References and Further Reading
Beer, Robert. The Encyclopedia of Tibetan Symbols and Motifs: Boston, 1999.
Cooper, J.C. An Illustrated Encyclopaedia of Traditional Symbols: London, 1999.
Cummings, Joe. Buddhist Stupas in Asia: Victoria, 2001.
Eliade, Mircea. Yoga (Immortality and Freedom): Princeton, 1973.
Hamani, Laziz, and Claude B. Levenson. Symbols of Tibetan Buddhism: Paris, 1996.
Landaw, Jonathan., and Weber, Andy. Images of Enlightenment (Tibetan Art in Practice): New York, 1993.
Maxwell, T.S. The Gods of Asia (Image, Text, and Meaning): New Delhi, 1997.
Sangharakshita. The Drama of Cosmic Enlightenment (Parables, Myths, and Symbols of the White Lotus Sutra): Glasgow, 1993.
Sangharakshita. Tibetan Buddhism An Introduction: Birmingham, 1999.
Snodgrass, Adrian. The Symbolism of the Stupa: Delhi, 1992.
Tresidder, Jack. The Hutchinson Dictionary of Symbols: Oxford, 1997.
Varenne, Jean. Yoga and the Hindu Tradition: Delhi, 1989.