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Buddha Shakyamuni

7 Weeks After Enlightenment

Historical Background

Seven spots within the precincts of the Maha Bodhi Temple are especially sacred, as the Buddha spent 1 week at each spot meditating, after his Enlightenment.1 c24; 2 p41; 3 p 82; 8 p61

 

  • Week 1

    Buddha sat and meditated under the Bodhi Tree.


  • Week 2

    The Buddha stood and meditated gazing at the Bodhi Tree.


  • Week 3

    He walked and meditated along the Jewel Promenade.


  • Week 4

    The Buddha meditated at the Jewel House.


  • Week 5

    The Buddha meditated under a Banyan tree.


  • Week 6

    The Buddha meditated under the Muchalinda tree.


  • Week 7

    The Buddha meditated under the Rajayatana tree.

Week 1

Artefact Description

At the centre section of the relief, Buddha is seen seated on the ground in Dhyana (meditative) mudra and backed by a nimbus looking at the Bodhi tree, with a figure in reverence standing behind Him.6 fig 49

Historical Background

Throughout the first week, the Buddha sat under the Bodhi tree in one posture, experiencing the Vimutti Sukha (Bliss of Emancipation). He was contemplating on Dependant Origination, in ascending and descending order.2 p 41, 8 p51, 9 c4

 

Vajrasana Diamond Throne is where He sat and gained Enlightenment.

Week 2

Artefact Description

This is a depiction of a Standing Mandalay Buddha - The robes worn by the Buddha cascade beautifully over His left shoulder. Delicately cast folds and pleats decorate the robes, contributing to the majestic aura of the Mandalay Buddha.

 

Mandalay Buddha is often depicted with a broad band across the forehead as you can see here. The Buddha displays Varada (bestowing a blessing or charity) mudra, with His right palm facing the viewer, while His left hand gently grasps the ends of His robe.

 

Unlike most depicted Mandalay Buddhas who are usually adorned with inset mirror glasses on the side and hems of their robes, the Mandalay Buddha displayed here is depicted in a simple style with the cascading folds, pleats and creases highlighted in gold paint.

 

Mandalay became the capital of Burma under the reign of King Mindon during the 19th Century.

 

Buddhist art and architecture flourished in this region and developed its own style. The Standing Buddha is one of the most popular forms of Buddhist sculptures of this style.

Historical Background

The Buddha stood at the Animesh Lochana Chaitya and meditated with perfect, unblinking focus on the Bodhi tree, with thankfulness for its shade and protection.8 p97

 

This is located north-east of the Mahabodhi Temple.

Buddha Tooth Relic Temple & Museum Similar Artefacts

Artefact Description

This Buddha is seen in the Abhaya (fear-dispelling) mudra with His right hand held upward with fingers together, palms facing outward. The hand is raised from the arm which is bent at the elbows. The mudra further represents reassurance.

 

The flame-like finial on the Buddha's crown is also common in Buddha sculptures from Thailand which varies in design. The finial is said to emanate the fiery energy or explosive spiritual power of the Buddha.9p48

 

The hem of the outer robe goes from the shawl over the left arm and thigh towards the feet.

Artefact Description

This typical depiction of the Cambodian Standing Buddha displays the abhaya mudra, also known as the fear dispelling gesture, which symbolises peace, protection and dispelling of fear. He is dressed in cloak like robe cascading from His shoulders that are exquisitely yet subtly decorated, but leaving His top body bare, save for an elaborate necklace and adorned with a belt left hanging at His waist in front.

 

This standing Buddha bears the typical Khmer styled Buddha statues that are marked by a broad face with thick lips and a high conical finial. Both Buddha's palms are incised with the Dharma wheel, which is part of Mahapurusalaksanas (thirty-two major marks of Perfection).

Week 3

Historical Background

He meditated and walked along the Ratnachank-rama or Jeweled Promenade between the Bodhi Tree and Animeshlochana Chaitya for a whole week.8 p64

 

This is adjacent to the north of the Mahabodhi Temple.

Week 4

Historical Background

The Buddha was meditating and reflecting on the higher concepts, Ahidhamma Pitaka at the jewel house, Ratnaghar Chaitya, There six rays of colour radiated from Him - blue, yellow, red, white, orange and a combination of all five colours. These colours became the basis for the Buddhist Flag.

 

This is located north-west of the Mahabodhi Temple.

Week 5

Historical Background

The Buddha meditated under a Banyan tree, Ajapala Nigrodha.2 p 42

 

This is at the east gate of the Mahabodhi Temple.

Week 6

Artefact Description

This is a depiction of the Buddha receiving protection from the Naga king, Muchalinda.

 

Naga-protected Buddhist art forms are commonly found in Cambodia and Thailand, which flourished during the Khmer empire (802 CE to 1432 CE). Such sculptures of Buddha Shakyamuni are typical emblems of Khmer-Mahayana tradition. The right hand of this sculpture displays Abhaya (fear-dispelling) mudra, while the left hand displays the Dhyana (meditation) mudra.

 

It is a rare occurrence as most other forms of Naga-protected Buddha usually displays the Bhumisparsha (calling-earth-to-witness) mudra. The Buddha is seen in the Lalitasana (relaxation) posture while resting on the two-tiered Naga throne; one leg is bent horizontally atop the pedestal (formed from the same five-headed Naga that shelters Him from the storm), the other leg extending down toward the floor.

 

Unlike other Buddhist forms of Naga-protected Buddha, this sculpture has a red circular nimbus behind the head of the Buddha. Most Naga-protected Buddha would feature the Naga's hood as a relatively larger conical nimbus behind the Buddha from above the shoulders.

 

Another feature that differs from other Naga-protected Buddha is His hair, which is more likely to have Hellenistic origins, a style commonly found in Gandharan period (2nd CE to 3rd CE).

Historical Background

Six weeks after attaining Enlightenment, a storm broke out while the Buddha was mediating under the Muchalinda tree. The Naga king, Muchalinda, paid homage to the Buddha by sheltering Him from the storm, spreading his hood over Buddha, acting as a canopy to protect Him from the rain.2 p 43, 8 p77

 

This is at the south of the Mahabodhi Temple.

Buddha Tooth Relic Temple & Museum Similar Artefact

Artefact Description

This is a depiction of the Buddha receiving protection from the Naga king, Muchalinda. Muchalinda, the multi-hooded snake king protects the Buddha against the thunder and rain sent by the asuras and demons, to disturb His meditation. Unlike other Buddhist art forms of the Muchalinda, this particular Muchalinda has a singular head compared to the varied manifestations with multi-heads (usually seven or nine). The Buddha is seated on top of Muchalinda's coiled up body, while He displays the Dhyana (meditation) mudra.

Week 7

Historical Background

The Buddha meditated under the Rajayatana tree for higher wisdom. This took place at the south-east of the Mahabodhi Temple.

 

At the end of the week, two merchants, Tapussu and Bhallika approached Him and offered Him food.1 c24; 2 p44 This was the first food the Buddha had eaten since His Enlightenment. These merchants became the first lay followers of the Buddha. It was said that the Buddha gave His two disciples a few strands of His hair. These two merchants (eventually became disciples) took them back to their own country to build a stupa.

 

Currently, these relics are enshrined in the famous Shwedagon Pagoda in Yangon, Myanmar.

Bibliography:

  1. Lalitavistara 'The Play in Full', Translated by the Dharmachakra Translation Committee, 2013
  2. Ven. Weragoda Sarada Maha Thero, Life of The Buddha In Gandhara Art, 2006, ISBN 981-05-7045-7
  3. Department of Tourism, Government of India, Walking with the Buddha, 2nd edition 2004, ISBN 81-87780-24-X
  4. Sir John Marshall, The Buddhist Art of Gandara, 3rd edition 2008, ISBN 978-81-215-0967-1
  5. Indian Museum, Kolkata, The Way of The Buddha, reprint 2005
  6. Ratan Parimoo, Life of the Buddha in Indian Sculpture, 1936, ISBN 13:9788124605523
  7. Charles F. Chicarelli, Buddhist Art: An Illustrated Introduction, 2004, ISBN 974-9575-54-7
  8. Awakenings in Bodhgaya, Bodhgaya Temple Management Committee, 2010
  9. Ven. Narada Maha Thero, Vision of The Buddha, The Buddha and His Teachings, 2006, ISBN-10: 8179926176
  10. Carol Stratton, Buddhist Sculpture of Northern Thailand, 2004, ISBN 13: 9781932476095

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