Cetiya

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Cetiya ( चेतिय ), so-called “memorabilia” or “souvenirs” (from Sanskrit caitya ), are objects and places that are venerated by Theravada Buddhists in memory of Gautama Buddha . According to Damrong Rajanubhab , four different types are distinguished in the Pāli Canon : "Relic [Dhatu], Memorial [Paribhoga], Teaching [Dhamma], and Votive [Udesaka]." Alexander Griswold, on the other hand, considers three of the memorabilia to be traditional and the fourth, that Dharma (dhamma) for later addition to remind monks that the true memory of Buddha is only to be found in his teachings. So while it is roughly Buddhist symbolism , the emphasis is on a historical connection with the Buddha rather than a metaphysical connection.

Dhātu Cetiya (Sārīraka)

Dhātu Cetiya or sārīraka (Sanskrit: śarīra ,), real remains of Gautama Buddha's body, are referred to as “ relics ” by Western observers and are the subject of particularly magnificent forms of Buddhist art and architecture, even if they represent only one of the three categories. The most common relics are teeth and bone parts, as these have been preserved even after cremation. The tooth relic of the Buddha in Sri Lanka is the best known place where a tooth is apparently preserved. However, hundreds of places of worship have been created that pretend to be a stupa to contain a relic. In Thai language these stupas are called chedī . The word originated from the second part of the term dhātu cetiya ; In Lao , on the other hand, the term that is used, which originated from the first half of the term. Except in the stupas, sārīraka are found all over the Buddhist world, in such numbers that not all of them can be real relics. Accordingly, sārīraka can be understood more as a symbol, whereby the authenticity and the meaning of the legitimation vary greatly between cultures.

The body parts of particularly effective monks are also called "sārīraka", but they are usually in the form of sparkling jewels that are believed to have been formed during the cremation.

Paribhogaka

Paribhoga Cetiya , "objects that were used by the Buddha", are naturally very rare today. However, some temples, such as the Tongdosa in South Korea, claim to have such items. The Tongdosa, for example, owns the robe and begging bowl of the Buddha. However, the category also includes all places that the Buddha had visited, such as Bodhgaya itself and the Bodhi tree , the saplings of which were planted throughout Southeast Asia; an offshoot of the original tree is still in Sri Lanka today ( Jaya Sri Maha Bodhi ).

A footprint of the Buddha with the wheel of fate in larger than life size.

Another common Paribhoga Cetiya is the Buddha's footprint , which is widespread in the Buddhist world and represents the ground on which Buddha walked and which represents the mighty greatness of his Dharmakāya (dhammakāya, literally "Truth Body"). Some of these footsteps are also considered udesaka , a representation of the Buddha's foot, or even sārīraka , which equates the footprint with the foot.

Udesaka

Buddha's acceptance into the monastic community in a depiction from Gandhara , 2nd century AD.

The third category: udesaka or uddesika cetiya (literally “indicative memorabilia” or “ votive objects ”) are, for example, images of the Buddha. Udesaka have no physical connection with the Buddha but serve as cetiyas because they were created in his memory. Originally udesaka were only subordinate to paribhogaka and sārīraka, but under the influence of Graeco Buddhism , Buddha statues (buddharupa) were made in large numbers, later pictures and other images. The Dharmachakra (“Dharma Wheel, Wheel of Fate”) also falls into this category as a memento of Buddhist enlightenment.

It is widely believed that early Buddhist art was imageless . However, this view is now being questioned. There was no outright ban on images. A representation of paribhogaka (souvenir items) as a more fulfilling and meaningful symbol was considered by the early Buddhists as a trigger for Buddhist understanding ( Prajñā - pañña). Whether these works of art were substitutions for the image of the Buddha himself is currently under discussion.

Individual evidence

  1. ↑ a b c d Kalingabodhi jātaka. In: John Strong: Relics of the Buddha. Princeton University Press, Princeton 2004: 19.
  2. ↑ Damrongrāchānuphāp : A History of Buddhist Monuments in Siam . Siam Society, 1962, pp. 10, 21.
  3. ↑ Alexander B. Griswold: What is a Buddha Image? . Promotion and Public Relations Sub-Division, Fine Arts Department, 1990, pp. 14-15.
  4. ↑ Pierre Pichard, François Lagirarde: The Buddhist Monastery. École française d'extrême-orient 2003: 171.
  5. ↑ http://www.orientalarchitecture.com/koreasouth/busan/tongdosa.php
  6. ^ Susan L. Huntington: Early Buddhist Art and the Theory of Aniconism. In: Art Journal. 1990, vol. 49, 4: 401-408. doi = 10.2307 / 777142 jstor = 777142
  7. ^ Jacob N Kinnard : Imaging Wisdom: Seeing and Knowing in the Art of Indian Buddhism . Routledge, 2013, ISBN 978-1-136-77924-4 , p. 77.
  8. ↑ Susan L. Huntington: Aniconism and the Multivalence of emblem: Another Look. In: Ars Orientalis. 1992, vol. 22: 111-156 doi = 10.2307 / 4629428 jstor = 4629428

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