Papers presented at the International Buddhist Conference, March ...

̣
It was regulated by Vajrayanic tint of liturgics images for
sacraments. It gradually diffuses the exoteric norm of Mahāyānic
Bodhisattva's Wisdom and Compassion, into the esoteric pursuit
for the passion of power (Śakti). It was meant for attaining the state
of supreme–bliss through the five 'M's' i.e., Matsya (fish), Madya
(wine), Māmsa (flesh), Mudra (woman) and Maithuna
(copulation). It radically initiates the esoteric arts to visualize the
symbolism of Mantra, Mudrā and Mand ̣ ạla as obscure appliances
for the sacred recital of iconographic art. Thus, the fixed (Acala)
icons were enshrined as image and Yantra, in the tabulated form to
symbolize the mutable shrine. Thus, the cultural practices of
chariot-festivals (Rathayātra) became the part of iconic and living
god's adoration. It was pragmatic since the establishment of
Matsyendranāth's chariot festivals of Patan and Kathmandu as
ancient Licchavī habit handing down to the contemporary Newar
tradition.
The movable installation art is exemplified by the Dipankar's
repousse image of Samay-dyoh, believed as Lāmākhwāh-Āju, the
ancestral deity to the Shakya communities of Kirtipunỵa-
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vajradhātu-Mahāvihāra at Lagan Bahal in Kathmandu . This
group of Shakya is legendary as linked with ancient Koliya's of
Licchavī inscription of Yengālhiti, for the reference of the city of
Daksinạ-koliya-grāma-dranga. This group is believed as migrated
from ancient Devadaha to escape with the Shakyan massacre of
Kapilavastu caused by Bidudabha. Nepali chronicle mentions
Śākyamuni Buddha's arrival in this valley during the seventh
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Kirati rule of Jitedasti . This could be symbolically linked with the
visit of Ananda to explore his natives of Koliyas and Shakyas
relinquished from Devadaha and Kapilavastu to ancient Nepal.
This story was mentioned by the ancient text of
Mulasarvāsthivada-Vinaya-Sangraha.
According to this speculation, these new flock have introduced
with cultivation of land of Kirāta, the nomadic tribe for agricultural
occupation of rice-planting. In course of time, when the early
expertise of the low-land rice farming went deficient to the valley,
by the time of Licchavī Narendradeva, he set with Buddhist priest
for Kāmarūpa of Assam to bring the advance skill of rice plantation
with the symbolic image of Padmapani into this valley. Since then,
Karuṇāmaya became the epitome of agricultural god to herald the
rain with profusion of crops for Lokanātha, as the lord of populace.
To commemorate the establishment of rice-eating culture in
ancient valley of Nepal, Buddhist annually celebrates the Pañcadāna,
donation of cereals to Lord Buddha, Karunāmaya and
Dipankara images along with the Shakyas and priests for their
effort of rice making with pompous rituals in Nepal. This tradition
is still observed as the day of donations of five kinds of grains or the
pure rice viz., Punỵa-jā-dāna. It set with the new culture of Newars
for adoring with the new crop of rice, paddy and wheat offering to
Vaśundharā, as mother earth, while Hindus offer it to Mahā-
Laksmī for celebration of new rice. They are accustomed with the
feast of Kūchi-bhoya, meaning a measure full of beaten rice taking
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during the Daśain festival. As well as, Newars celebrate the New
Year during the month of October as the promising month after the
storing of new rice in the granary by worshipping the lord of
wealth, Lasḳmi along with Kuvera, the Yaksạ and goblins called
Khyāk as the sentinels.
It might be one of the reasons for selection of living-goddess
Kumārī, as deity of stately plethora (Rajya-laksmī) for country's
enrichment with celebrated guardians like Ganẹśa and Bhairava,
as living divinity chosen from the Shakya community. The
extensive research in this field will yields the stipulation of
Buddhism with its impact on ancient economy of Nepal.
The annual chariot festival of Living goddess Kumārī begins with
the Buddhist ritual but significantly blending with the Śākta trend
of Asṭạmārtrikā-gana ̣ in Kathmandu. The icon of Kumārī is set
with a peacock as her vehicle that also reveals the celestial state of
virginity. Her arms gesticulates the voidness as essence (Vindupātra-mudrā)
to attribute sword (Khadga) and shield (Khetaka).
Kumārī is the feminine aspect of Kumāra, the Hindu war-god,
trendy as principle deity of early Licchavīs from Vaiśālī and
celebrated icon of Sithi-dyoh among the Newars of this valley. This
deity is transforms into spinster as Batụka, for his everlasting
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youthfulness. Batụka-Bhairava is escorting Ganẹśa since
medieval time in Nepal. Kumārī as living-goddess is conceived of
movable-unmovable in human form to symbolize the virginity as
living gods of Bhairava and Ganẹśa escorts her energetic (Rajo)
spirit with pure (Sattva), and gallant (Tamo) excellence.
Conclusion:
Art in Buddhism is not only profession but the medium of devotion
since its inception for depiction of Buddha image in to the idealism
of Śākyamuni's life-story, his pre-birth stories of Jataka, were
explored in to animal motifs as symbolism in arts by Asoka in third
century BC. It was Iconize later by different indigenous and alien
art schools of Mathura and Gandhara according to their cultural
spirits and aesthetic perception for illustrating the Buddha image.
This image became the role model for depicting his teaching and
philosophical embodiments of the Bodhisattva and Buddha's
imaginations. Hence, the Mahayana introduces the Bodhisattva
idealism with regal postures in arts, with admission of the Yasḳa
types. These images were incorporated with the different ethnic
identities as Gandharva, Naga, Asuras etc. Mahayana embrace
them as the guardians and the idealism of four noble sentinels were
come into light as Noble kings as protectors of the Dharma.
The Licchavī art was chiefly based with mythical inheritance
which merges with the early none mythical and folk spirits into the
new trend of iconic adoration. Buddhist art was significant with the
mythical embodiment from that period for its inception from
neighboring region. However, the setting of the true religion in
Nepal is conventional as Vajrayanic effort for the establishments of
the iconographic images of tantric influence that persists as
tradition to date.
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Milan Ratna Shakya. A Cultural Study of Kirtipunya-Mahavihara (Lagan Bahal ). (U.p.).
an M.A.Thesis in Nepalese, History, Culture and Archaeology submitted to T.U.
Controllers’ Office in 1987.
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Daniel Wright. History of Nepal. (Patna: Sushil and co.1958).P.57
55
Milan Ratna Shakya. op.cit.( e.n. 3).
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Milan Ratna Shakya. The Cult of Bhairava in Nepal. (New Delhi: Rupa & Co, 2008).
57
-----, Ganesa in Medieval Nepal. (New Delhi: Rupa & Co., 2006).
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