Morbid
meditation in Buddhist iconography
The contrast ugliness and beauty
By Vittorio Roveda @ (Copyright text and
pictures)
Admin: Sothon Yem
This paper begins with the examination of the human body’s beauty and ugliness as conceived in Western art. Using examples of Thai and Cambodian paintings, I reached the understanding that the detachment from one own body puts an end to desires, the cause of life’s suffering. Awareness of the body’s impermanence and the need to emancipate from it can be achieved by meditating on corpses.
In this paper I
contemplate the body as a beautiful entity, externally embellished and
aesthetically attractive in a Western art’s contexts. In the total contrast, I examine
also the body as a corpse, a cadaver, internally and externally, its dissolution
in death, leading to the realization that attachments, cravings and desires are
conditioning our life. The images of these to corporeal aspects brings me to
examine Buddhist morbid meditation.
The objective of this paper is the human body in Buddhist iconography
and the emancipation from all concerns about the body. To illustrate this it I
recurred to two extreme examples:
1) Beauty
- The deceptive sensuality of the body of the girls of
Siddhartha’s harem
- The beautiful, sensual and provocative daughters of
Mara
2) Ugliness
- The corruptibility of the physical body. Corpses, as
the subject of Buddhist meditation.
Both
aspects lead us to see that in the Buddhist doctrine there must be total detachment
from the body, both in its pleasant and unpleasant aspects. Furthermore beauty
leads to sensuality and desire, conflicts and to the endless samsara, cycle of repeated births and
suffering.
The
concept of body-beautiful has been idealized by Western art with the
representation of nude bodies, the ‘nude’, from the sculptures of the Greeks,
of the Romans, to the painting and sculptures of the Renaissance.
The women rejected
My
first example of bodies depicted on murals, is the episode of “The women
rejected”, described in the Lalitavistara, chapter XV (Rachet 1997: 174)
or “the Women’s Sleep” (Foucher 2003:73). This happened in the occasion of Siddhartha
giving farewell to wife and child.
When Siddhartha decided to live his father palace end
“enter the world”, Indra assembled the gods. All were very pleased and each put
forward some proposal to assist the Bodhisattva in his plan to leave. One god
said he will put to sleep all the people of Kapilavastu; another that he will
make imperceptible the noise of the horse’s hoofs; another offered a great
chariot and another apsaras making music and chanting; another that he
will open the city gates and show the way out. Finally, Dharmatchari, son of a
god, proposed to give a disagreeable appearance to all the women of the
Bodhisattva palace.
In
mural painting this episode leads to the depiction of the girls of Siddhartha’s
palace and harem: without garments, nude, in unseemly postures, with limbs
vulgarly arranged; some still hanging on their musical instruments, harps and
flutes, cymbals, tambourines.
In the Buddhacarita, Canto IV (Johnston
2004:44) the event is justified by the gods having intoxicated the women. Some girls
have firm, rounded, close-set charming breasts; other let their garments to slip
down displaying their hips, and making obscene proposals to the Bodhisattva.
Siddhartha experienced for a few years the pleasures
of life, made available to him by fortune. He had only “one queen” Maja, his
sole legitimate spouse, who mothered Rahula,. The girls mentioned and
illustrated in the episode of the Bodhisattva departure from his luxurious
private apartments were ballerinas and musicians whose duty was to entertain the prince.
By glancing at them Siddhartha felt uneasy as if he
was surrounded by corpses for cremation, and had only one thought: to flee his
harem and follow his firm decision to renounce worldly life.
For monastic authors, this event is too good an
occasion to disclose their hatred and fears of women (misogynism); for the
painters it was the best opportunity to depict voluptuous female bodies, topic
that was unseen in Buddhist painting.
Mara’s daughters
The Lalitavistara
narrates the legendary event of the daughters of Mara (the Buddhist evil) tempting
the Buddha. This gave another opportunity to painters to illustrate the
sensuality of women’s body and the wicked attitudes in some women.
After
being defeated by Buddha (Maravijaya),
the evil Mara, taken by his pride, said to his daughters[1]:
“Girls, go to Bodhimanda (where Siddhartha was in the process of reaching the Enlightenment)
and make sure that the Bodhisattva is not exempt to passions, verify if he is
mad or sage, if he is blind or awake, if feeble or strong” (Lalitavistara, Rachet 1996: 262, chapter
xxi).
The
girls appeared in front of the Bodhisattva and displayed to him the 32 magic
tricks of women, description of which is beyond the scope of this paper.
Following the Lalitavistara
narrative, it is said that the girls displayed their sweet faces and the brilliance
of their smile, lips red and fleshy like the Bimba fruits. Some flaunted their
firm round breast; others loosed their transparent garments to reveal the
golden chain around their hips or to show their naked thighs. Twitching their
naked legs, emitting short screams, spreading the perfume of their body,
looking like virgins. All this they did while exchanging lascivious look at the
Bodhisattva, dancing and chanting, and at the same time observing the face of
the Bodhisattva to spy any reaction. But he remained still, unshaken, like
Mount Meru.
To excite
him further, the girls chanted that they were available to him and asked him to
get out from his meditative position and join them, join youth. As his slaves,
they enticed him to look at them, their gorgeous bodies displayed uniquely for his
pleasure.
The Bodhisattva, without flinching, without passion or
agitation, firm in his determination, calmly and majestically said: “Desire is
the root of all misery; desire for women cannot be satisfied. If one nourishes
desire, is like the man that drinks salty water. Your bodies are like bubbles
of water, like foam colored by illusion”.
He dismissed
the three girls.
The girls,
despite their magic, were taken by pride, anger, and intense passion reiterated
the invitation to Siddhartha to abandon himself to the joy of desire. They
invited him again to look at their bodies of a beauty rare even in the heavens.
The Bodhisattva
said:”I see your bodies filled with impure matter and by a family of worms,
soon to be consumed by diseases and infirmities of old age”. The desperate
girls, seeing that all their maneuvers were in vain and could not seduce the
young Prince, were taken by deep shame, saluted and greeted him, acknowledging
his superiority and disappeared. The legend says they were transformed into old
hugs.
Fig.1 –
Mara’s daughters trying to seduce Siddhartha. Wat San Romeat (Siem Reap),
Cambodia
Fig.2
- Mara’s daughters trying to seduce
Siddhartha. Wat Pol Chen, Kampong Cham, Cambodia
Fig.3 – To the left of the picture, Mara’s daughters are dancing and
playing music to distract Siddhartha form reaching Enlightenment. To the right of the panel, the three
defeated sisters are shown departing transformed in old hugs by the future
Buddha. Wat Bakong, (Siem Reap, Cambodia)
Fig.4 – When Siddhartha went to wish farewell to his wife and son, he
saw a bunch of his harem girls sleeping unseemly. Wat Kock Sreuch, (Kampong
Cham, Cambodia)
Fig.5 – The three daughters of Mara dancing in front of Buddha and then walking away as decrepit old women. Gilded stencils of Wat Xien Muang in Luang Prabang (Laos).
***
Meditation on dead bodies.
The
second part of this paper deals with ugliness and the corruptibility of the
physical body as the subject of Buddhist meditation. To illustrate it, I have
to recur to painting from temples of Thailand where the practice was known apparently
from the 13th century in the story of Preah Malay (Brerenton) that
narrates, amongst other, the impermanence of body’s features as visible in
corpses old and decomposed
The physical body is the source of repeated nuisance preventing
escaping from conflicts. To break this chain of rebirths in order to reach
eternal peace, it is imperative to realize the transitory nature of the body.
This can be obtained by meditating upon the body as prescribed in Buddhist
Scriptures (Vinaya, vol.3), the most adequate being the Maha
Satipatthana Sutta or the Asubha
Bhavana which lists the ten forms to counteract the different types of
lust. The aversion for the body was recognized amongst the sages of India, but
the meditation system is unique to Buddhism, probably since the early growth of
the teaching.
It recommends as the object of meditation ten natural states
of decay of a corpse according to ten different kinds of “Lustful disposition”.
- Swollen corpse, for those
who lust after the beauty of body
- Discolored corpse, for
those who lust after beauty of skin colour and complexion
- Festering corpse (stench),
for those who lust after perfumed bodies with a flowers, perfumes and
unguents
- Fissured corpse,(cracks
in the skin), for those who lust after apparent firmness and solidity of the
body
- Mangled corpse
(mutilated), for those who lust after fullness of body’s flesh such as
breasts [and genitals?]. It was recommended that monks should choose male
corpses rather than female, the latter preferred by nuns.
- Dismembered corpse, for
those who lust after graceful movements of the body
- Cut and dismembered
corpse, for those who lust after perfection of body’s joints
- Bleeding corpse, for
those who lust after beauty produced by ornaments
- Infested by worms corpse,
for those who lust after the concept that the body is “I” and “mine”
- skeleton, for those who lust after perfection of teeth and nails.
According to the Asubha Bavana text of
mediation, in old times, a monk had to perform meditation at night over a dead
body abandoned in the forest. All precautions were taken in the choice of the
location, time and equipment.
The dead body had to be observed as a manifold of impurities, hairs, flesh, skin,
organs, excrement’s, fat, snot, and fluids (saliva, urine, etc). The body had
to be seen as bag full of rice open at both ends, and the monk had to separate
mentally each grain of rice, examine each elements in total awareness,” and remember: “In this body there are……,
examining the body as a butcher when slaughtering a cow”.
The meditation must contemplate the body externally and internally and
the monk to be able to remember all details when back to his monastery’s cell. Meditation
on dead bodies leads to deep understanding of the impermanence of the body and
the need to emancipate from it.
Personal view on morbid meditation
As a Western art
historian, I have studied several temple-murals of mainland Southeast Asia
(Fig.1-5) illustrating the extreme contrast between beautiful bodies and the
ugliness of horrible putrefaction bodies (Fig.6-19); the contrast between
deceptive sensuality and the impermanence of human body is visually demonstrated.
It examines the way our society has visualized the body, beauty and
impermanence.
The painted images of the body that I have selected here, clearly
illustrate the Buddhist concept of impermanence. They are highlighting the
features of the body alive and beautiful, and dead as decaying body, painted to
educate viewers and transfer moral principles.
Scenes of morbid meditation were painted in Thailand, especially on
manuscripts narrating the story of Phra
Malay. In Cambodia, similar scenes were painted on Pra bots probably by Cambodian painters trained in Thailand at the
end of the 19th century. In Bangkok, a small temple is devoted
exclusively to morbid meditation, the Wat
Thevarajakunchorn. All its mural are included in this work (see pictures).
In Southeast Asia there was - and is - a different attitude towards the
body unduly covered. The psychological attitude of the artist (erotic or chaste
preferences) was ruled by tradition and religious patronage of the period when
the painting was made. Fear of nudity comes from centuries of inhibition. Even
in India the body is always more or less dressed since the beginning of
Buddhist art. Full male nudity was permitted exclusively in Jain art.
In the past women were
allowed to be topless till the end of the 19th century but now, und
westernized girls wear mini lingerie and bikini jeans.
In Western art, beauty was idealized in the representation of nude
bodies,’ the Nude’, highlighted by the sculptures of the Greeks, the Romans, to
the painting and sculptures of the Renaissance and the Baroque, to modern art
where the nudes of Manet and Modigliani reach the highest prices in auctions
and are the pride of Museums and collectors. The non-attachment of the body is
due to the Buddhist doctrine and the concept of body’s beauty has no
place in Buddhist art and iconography.
There are many publications about
Buddhist Mediation and I recommend that of Francis Story (1995) available on
the internet. The publication by
Paravahera, mentioned in the bibliography, has been my main source of
information.
Illustrations
Attached are 19 images related to the topic of this paper,
five illustrating body’s beauty and fourteen the ugliness of decaying body. Those
of Mara’s daughters tempting Siddhartha are from various monasteries of
Cambodia, painted in the period 1980-90. The pra bot of the Phnom Penh National Museum (Fig.17) could be
attributed to the end of the 19th century. The pra bot of Fig.16, to the middle of the 20th century,
with strong western influence.
The gilded image from Luang Prabang (Fig.5) is a modern
stencil restorations of antique images also stencilled.
The 14 pictures of monks meditating on corpses progressively
decaying are from What Thevarajunkhorn (Bangkok), tentatively dated around 1930
(Rama VI). The well-known painting on the wooden door of the library of Wat
Ramkan (Fig.18) is of the 1788 (Rama I),
the oldest survived in Southeast in Southeast Asia.
All photographs
are mine with reserved copyrights, taken in the period 1998-2013.
ESSENTIAL BIBLIOGRAPHY
Brereton, Bonnie P. Thai Tellings of Phra Malai, Arizona State University, 1995
Buddhacarita, Edward Johnston, Delhi 2004
Lalitavistara,
Guy
Rachet, Ed.Sand, Paris, 1996
Paravahera, Vaijranana M., Buddhist
Meditation in Theory and Practice, Buddhist Missionary Society, Kuala Lumpur,
Malaysia, 1975
Story,Francis, Buddhist Meditation,
1995, available on internet at:
Bangkok,
July 2016
[1] named
Crawing, Discontent and Lust allegorical figures of Pleasure, Displeasure and
Concupiscence
Fig.7 - A
monk contemplating a dead man on the street. What Thevarajunkhorn (Bangkok)
Fig.8 - A
monk meditating on a corpse that starts to discolor and swell What
Thevarajunkhorn (Bangkok)
Fig.9 - A
monk unwrapping a corpse for meditation. What Thevarajunkhorn (Bangkok)
Fig.10 - A
monk unwrapping a festering corpse. Wat Thevarajunkhorn (Bangkok)
Fig.11 - A
monk meditating on a dead body being eaten by a fox. Wat Thevarajunkhorn
(Bangkok)
Fig.12 - A
monk unfastening as bloated corpse. Wat Thevarajunkhorn (Bangkok)
Fig.13 - A
monk unwrapping a mangling, suppurating corpse. Wat Thevarajunkhorn (Bangkok)
Fig.14 - a
monk meditating over a cut and dismembered corpse infected by worms and flies. Wat
Thevarajunkhorn (Bangkok)
Fig.15 - A
monk meditating on a skeleton. Wat Thevarajunkhorn (Bangkok)
Fig.16 - A
monk sitting in meditation (left) and a monk unwrapping a bloated corpse.
Painted on a preah bot of a private
collection.
Fig.17 -
To the right from the Buddha descending from Tavatimsa, a monk is unwrapping a
corpse attacked by tigers preparing for mediation. Preah bot at the National Museum of Cambodia in Phnom Penh.
Fig. 18 – Contemplation
on dead bodies. Lacquered painting on a door of Wat Ramkhang, Thonburi
(Bangkok).
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