2009- art and architecture

2009

Buddhist Art and Architecture in Sri Lanka (II)

And so on…..

Kelaniya University

Makutarama Myanmar Temple

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Buddhist Art and Architecture in SriLanka (ii)

Lecturer by Dr.Mrs.M. P. M. Peiris

Recorded by Ashin Nandavaṃsa-(I.T.B.M.U)

“Namo Te Buddha Viratthu Sotthi Pajanam Detu MeJaya-Maṃgalaṃ”

Introduction

Buddhist Art and Architecture in India

25.2.2009-Wednesday-3:00-4:00

Actually with regard to Art and Architecture, there is flowed connection with Buddhism. Some may think that Buddhism is spirituality. But we have to know we have such a lot of things to admire and such a lot of things to spiritual of art and architecture. When we look at those things, we can make mental solid. First of all we will take about to Indian sub-confidence.

Art and Architecture in India

Buddhist art and architecture is part and parcel of Buddhist cultures with the beginning of Buddhism. Art and Architecture are also started. We can see great development after King Asoka. In India in the field of Art and Architecture, there were a lot of pillars, Stupas, cultures and paintings. Actually they are connected with ritual.

Even before the Buddha, we come across the Stupa near Kapilavatthupura. In these Stupas the relics of the Buddhas were enshrined. The names of the Buddhas were Kakusanda and Konagamana. The Buddha said that in the Mahaparinibbana sutta of Dighanikaya, there are four persons who are suitable for the traction of the Stupas: they are Sammasambuddha, Paccekabuddha, Arahant, and Cakkavatti raja.

The Buddhavaṃsa and Dhammapadaṭṭhakathā take that there have been stupas enshrining the relics. The Buddha also explains that how to make the cremation. According to Sumaṇgalavilāsinī which is the commentary of Dīgha Nikāya, it is stated that two stupas were constructed enshrining the relics of Sāriputta and Moggalāna. Tapassu and Bhallika had got the hairs of the

Lecture by Dr. Pieris ---2--- (First Term)

Buddha. They had also enshrining them in the Stupas. After the Buddha’s Parinibbāna, his remains bodily relics were enshrined at the various places. These places were Rājagaha, Vesālī, Kapilavatthu, Allakappa, Ramagama, Vethadīpa, Paveyya and Kusināra.

Those constructions of “Stupas” were constructed during the first century B.C. it is the fraction to the popularity. According to the view of scholar Marshel, Most of the Stupas, that stands today, had been constructed after King Asoka. In Arushana book, it is stated that King Asoka constructed 84000 “Stupas”. There constructing “Stupas” became culture and painting in Buddhism.

In India, almost all the monasteries are beginning complexity to construct a “Stupa”. In Nepal, the area is known as privacy. The example of a “Stupa” constructed according to the ancient tradition. This is the Sanchi Stupa. It is 20 feet in height and 150 feet in the diameter. According to Marshel, the first Stupa was supported to be as memorials. The Sanchi Stupa is very famous in India. It is 120 feet in the diameter and the height is 52 feet.

According to the structure, in the height of stupa was an able to several time of construction. Later on the first Stupa is regularly changed. The base of Stupa, the three stages of the dome and the other pillars of constructions were more than the feature of characteristics. The earlier Stupa did not have the pinnacle just like Sanchi Stupa with the development of the Stupa. They have various characteristics.

They can be divided into six sections: they are:

a)- Bubbulākāra-( Bubble shape)

b)- Dhanyākāra-( Paddy heap shape)

c)- Gantakāra- (Bell shape)

d)- Gatakāra- ( Pot shape)

e)- Padamākāra-( Lotus shape) and

f)- Amalākāra- ( Nelly fruit shape).


Art and Architecture are become part and parcel of Buddhist cultures with the beginning of Buddhism. When we look at these arts and architectures, our mind is softness in some parts of spirituality.

There are many buildings. They are: Residential buildings, Eccentric buildings and Ritual buildings.

1) - Residential means most monasteries.

2) - Eccentric means most Simas.

3) - Ritual means Meditation Halls.

Residential buildings are caves, systematic monasteries, Pabbata-vihāra, and Padhānāghāra. Among them, Caves are the foremost the first architectural types. And there are many things: they are Āgāta, Anāgāta, Catudisā, Sagasa, Mahāvihāra, Abhayagiri and Jetavana. Pabbatavihāra means rock areas. Padhanāghāra means Meditation Halls. And then there are also many things: they are Stupa, Bodhighāra, Image houses, Sculptures, Guard stones, Wind stones and Moon stones. Dhamma is the interpretation.

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The history of Stupa in Sri Lanka

There is also another instance. The Mahiyaṇgana Stupa, now known as a Alutnurara, situated on the banks of the Mahāvaligaṇga, close to the place where that river emerges from the mountain. According to the legends which have found a place in the principle Chronicle of the Sinhalese, the stupa at this place was originally founded by the God who has his abode on.

On mount Samantakūta (Adam’s peak), to enshrine some hair relics of the Buddha granted to that deity when the great teacher paid his first visit to Sri Lanka, eight months after the enlightenment or after passed away of Mahāvīra ( Jina). It is said that this Stupa was built by the two merchants Tapussu and Bhalluka, to enshrine the hair relics received by them when they made their first gift of food the Buddha. It is said the Stupa were constructed.


After the Buddha’s Parinibbāna, however, there was a great important given to the distribution of relics. The following kings and nobles took the relics to construct the Stupas:

1)- King Ajātasattu at Rājagaha

2)- King Licchavī at Vesālī

3)- Sakyan at Kapilavatthu

4)- Malla at Allakappa

5)- Koliya at Rāmagāma

6)- Brahmins at Vethadīpa

7)- Malla at Pāveyya

8)- Malla at Kusināra

9)- the Brahmin Dona took the vital view for the distribution of the relics and

10)- Mauryas of Pippalivāna took ashes from the place of cremation.

King Ajātasattu took the relics of seven Stupas later and protected them under the ground. After that king Asoka distributed all the relics to the other kings and they constructed the Stupas. During the period of King Asoka and King Kaniṣka, Stupa was considered as very important places of worship.

The development and extension of residential monastery give rise to the establishment or monument of worship. In Anurādhapūra, we can see the predominance of the Stupa over the entire religious architecture. The Stupa derives the sacred characters because of the corporeal remains of the Buddha are enshrined. When Buddhist people worship the Stupa, they feel as if they are worshiping the Buddha himself.

Devānaṃpiyatissa built the first Stupa in Sri Lanka, which, according to tradition, enshrines the collar-bone of the Buddha. The Stupa known subsequently as the Thūpārāma, is of great Sanctity in the estimation of the Buddhists of Sri Lanka and is still one of the principal places of pilgrimage at Anuradhapura. At the beginning, the Stupa was in the shape of a heap of paddy. The diameter is 59 feet and the height is 63 feet. The Stupa is built on a circular


pavilion. According to tradition, the color-bone of the Buddha is enshrined in this Stupa. The Stupa was at the beginning the shape of a heap of paddy. Today we cannot see the earlier shape because it was repaired later and it changed a lot.

King Vasabha had constructed the Cetiyāghara. Even today we can see stone pillars around the Stupa. The Mahāthūpa now generally referred to as Ruvanvali Dāgāba built by King Dutthugāmunu during the second century B.C. this Stupa is 120 cubits (240 feet) in height and the diameter is 298 feet at the base. There is archaeological evidence to prove that this Stupa, when originally built, was substantially of the same proportions as it is today, and that later restorations have increased it is original dimensions. The monument was appropriately called the Mahāthūpa (the great Stupa), for, when it was built, there was no other shrine of its class rivaling it in size, not only in the island of Sri Lanka but in the whole of the Buddhist world. Two of the later Stupas of Anuradhapura surpass it in size, owing to the romantic interest attached to the name of its founder in various other reasons. The Mahāthūpa has been able to retain the first place among the Stupas of the island in the estimation of the Sinhalese Buddhists.

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Stupa in Sri Lanka

The “Stupa” is a prominence structure in the field of Sri Lankan architecture. There are various views about the origin of the “Stupa”. The “Stupa” is called Thūpa, Cetiya, Vihāra and Dāgaba. All these names were one “Stupa”. Many people say various views. There is a view that this “Stupa” originated from funeral mound is also originated. It is also believed that the “Stupa” is an architecture device within a triangle. Therefore the primary plan of the “Stupa” is a triangle.

In Egypt, there were pyramids where the dead bodies were kept. Some believe that this has also influence of the Stupa. There can be the practice of keeping the dead body of king as the respect to make a relic mark of soil according to a certain skeleton.

According to this, there is another view about the origin of that Stupa. A certain pole is called the Yupa. It is considered as a sacred symbol of the Hindu.


They use this pole for the purpose of classify. The Stupa also has the symble of Yupa. According to the views of some scholars, the Stupa also has this symbol. There is also the symbol of a celestial or divine tree. It is believed that this tree was the middle of the world. The Buddhist people believe that one can attain Buddha-hood under this tree. The Hindu people as well as Christian people also consider this as an auspicious sign.

Fergusson says 170 years before in India there had been a Vedic Stupa. It is called Ṣmaṣana cemetery. There had been two types of such Stupa: one is square shape and the other is the shape of circular. Accordingly even during the three Bodhi Era, there had been believing that the constructing Stupa is the remains bodily relics were enshrined. The circular was collective ashes to make a Stupa. The Stupa is also having these two shapes of cycle and square. The outer Stupa is in the shape or a semicircle and inside of the relic chamber is square shape.

There is a view of the Stupa. Hiranya Stupa is the origin of Stupa. It was built by Agrawala. A Stupa is well known as a monument for paying respect in Buddhist countries. In Mahāparinibbāna sutta, the Buddha said that there are four persons, Mahāpurisa, who are worthy of Stupa. They are Sammāsambuddha, Paccekabuddha, Arahant and Cakkavatti Rājā. After demise of the Buddha, his remains of bodily relics were enshrined in the Stupa for paying respect. Therefore, it is very clear that the origin of Stupa is concerned with concept of Mahāpurisa.

In Mahāyāna Buddhism, the Dhyāni Buddha were kept in Stupa, were built after being passed away. Theravādin also consider that the Buddha is a Mahāpurisa. Therefore, the Stupas were constructed enshrining relics. The historical background of the Stupa is while the Buddha is living alive, the remains of Ven. Sāriputta and Ven. Moggalāna were enshrined in the Stupa as memorial monument. Stupas were constructed with the ashes. The Buddha requested to Ānanda thera, after he demised, his body should be spread as the dead of a Cakkavattirāja. He also requested him to construct a Stupa in the middle of four cross-holes. There is the historical background of the Stupa. According to Sabbatthi vinaya, another king can be got hair and nail from the Buddha. Nail and Hair are enshrined in the Stupa by the people. He (king) had also got the permission to constructed and entranced to the Stupa.


According to Mahāsaṃghika vinaya, Buddha himself had constructed the Stupa for the Kayapa Buddha. It is also said that a certain king constructed a Stupa for the Buddha. It is also considered the four places as the place where the Buddha was born, the place where he reached Enlightenment, the place where he made the first preaching and the place where he placed the Parinibbāna are called the Stupas.

And Tapassu and Bhalluka were enshrining the Buddha’s hair relic constructed a Stupa. It is supposed to be Dirihanduseya in the east of Sri Lanka.

The other Cetiya is in Myanmar the pagoda which is called “Shwedagon”.

1.4.2009- Wednesday-3:00-4:00

This Stupa is also belonging to Mahāvihāra complex. It had been built enshrining relics. This Stupa is 160 feet in height. The super structure has disappeared but the body of this Stupa is built by itself. And it is very important for the inside architecture in Sri Lanka due to the present of Vahalkada (frontispiece). The structure of Vahalkada is in a good state even today but the purpose of these Vahalkadas is rather obscure (not clear). Some consider they are screened for the flight of astonishing the terrace.

The great Stupa of Abhayagiri, when it was first built, was not too large as it stands today. According to the historical records, it is stated that it was enlarged on to subsequent occasion. After later enlargements, the Stupa reached a height of 140 cubits (350 feet) and has today a diameter of 355 feet at the base. The base is more than the dome. Of the Abhayagiri is partly ornamental with the sights of lotus building.

The King Vohārika tissa placed a Chatra (umbrella) upon the Stupa. And this manner of the Abhayagiri stūpa became one of the important Stupa. The Jetavana Dāgaba built by King Mahāsena in 160 cubits (400 feet) in height. It has a present a diameter of 370 feet. At its base, this Stupa is recorded as heaven is a concrete in foundation of base 26 feet. It is built on solid brick masonry and it still remains as the third largest building in the world at the time. And there is the systematic type of monastery like Pabbata-vihāra. One cannot observe huge Stupa with a form in the half of Anuradhapura. These Stupas of these types of

Lecture by Dr. Pierisis ---8--- (First Term)

Monasteries are situated in the elevated platform small. The height of the Stupa

is about 3250 feet. The Stupa put art on a square platform with entrances in flowered order.

The Stupas of Polonnaruva have also followed the same tradition as the Stupas of Anuradhapura period. There are also Vahalkadas, but these Vahalkadas are different from those of Anuradhapura and they are also inferior. The Stupas of Polonnaruva period had numerous resilient establishment and innovation. The followings can be considered as the Stupas of Polonnaruva. They are:

1)- Vatadāge type

2)- Padamakāra type

3)- Pyramidal type and

4)- Bubble shape type.

The Stūpas in the Polonnaruva

Vatadāge had built in the Vatadāge form. And the Demala Mahāseya is of these the Padamakāra type. The Satamahal type of terrace is a step of Pyramidal type. The Rankot-Vehera, Kiri-Vehera, Manik-Vehera and Pabulu-Vehera are bubble shapes. On Rankot-Vehera and Kiri-Vehera are built at square terraces. Stupas are constructed in the terraces. There are three terraces one upon the others. Their shapes are with the famous bubble shapes. The Stupa found in the side of the Polonnaruva. Vatadāge is special type of Stupa. This Stupa is different from the others because there had two terraces. At Polonnaruva, this stupa was built later to get sheltering in the Vatadāge.

The Demalamahāseya in which, the super structure is two halves. Therefore, it takes the form of a full bloom lotus (Padamakāra). However, the constructions of these terraces are shown a deviation from half way. They had become a flat. The Sakamalatasada is located within the sacred Quadrangle. This is Stupa of Pyramidal type. The arrangement is like a pyramid and there are seven stories and the other seven stories and the other seven ones are broken today. There was considered in this Stupa. But the location suggests that it can be a mutual building of this monastery. This is the end of the First Term.

Lecture by Dr. Pieris ---999--- (Second Term)

This is the beginning of the Second Term!

29.4.2009- Wednesday-3:00-4:00

There are various shapes of Stupa. They are:

(a)- Bubbulākāra (Bubble shape Stupas) - these types of Stupa are very common. For example: the Ruvanvaliseya which is at Anuradhapura, the Kiri-vehera, and the Rankot-vehera which are at Polonnaruwa. This simple signifies the impermanence just as the great spots are away. This is a significance of impermanence nature.

(b)- Gantākāra (Bell shape)- this is a Stupa with the shape of a bell. This type of a Stupa can be found at Kurunegala Nikadalupota.

(c)- Dhanyākāra(Paddy heap shape)- this is a Stupa with the shape of Paddy. For example: the Stupa of Kelaṇīya, Anuradhapūra, thūpārāma, and they are also first had this shape and later has changed. According to Roland Silva, the Abhayagiri and Jetavana also had taken earlier this shape.

(d)- Padamākāra(Lotus shape)- this is a Stupa with the shape of lotus in Sri Lanka. These shapes are not common here. According to Paranavithana, the Demalamahāseya at Polonnaruwa takes this shape.

(e)- Ghatākāra(Pot shape)- this is a Stupa with the shape of Pot. According to Roland Silva, Kiri-vehera at Kataragam and Somawathi Cetiya take this shape.

(f)-Amalākāra( Nelly fruit shape)- there are the most Stupas of this shape found in Sri Lanka. According to Paranavithana in Sri Lanka, we do not find even a Casket. Although these are the main shapes of Stupas today in Sri Lanka, we can see the various shapes of Stupas due to the development of Stupa. Buddhist people introduce now this type of Stupa. Aṣtāshrākāra Stupa was taken the shape of Padamākāra at Anurādhapura and Cylindākāra Stupa of Kudumbigola Ambalangoda also was taken this.

The various science of Stupa-

(a)- Sand terraces- this is the construction. There ground is covered in sand and stone terraces. There are pieces of stones taking various shapes. The foundation is also very firm below the stone terrace. The foundation is very deep. This


significance is the deep nature of the circular of Pan. The stone pieces are many changed. They are like many types of people in the world. This is useful for the people go around the Stupa, worshiping (circular ambulation). It is based on the modern. This form of structure is made as the simple of eighty four thousands Dhamma.

(b)- Three Terraces- they are called Malpiyavāsa. Early days, people have offered the flowers on there. These three things signify Buddha, Dhamma and Sangha.

(c)- Dome- this is very important because of the plan of the Stupa become different according to the shape of dome. Inside the dome, people enshrine relics and many other precious things. Inside the dome of Ruvanvaliseya, there has been a big room full of painting. The dome signifies 37 Dhamma leading to the Enlightened One.

(d)- Square enclosure-

Some scholars consider that it signifies the four noble truths or the four disciples of the Buddha or Bhikkhu, Bhikkhunī, Upāsakā and Upāsikā.

(e)- The Section of Deities-

This signifies the Deva world. The four types of disciple after following the Dhamma attain this Deva world.

(f)- The spire-

It signifies the eightfold path. That is Sotāpatti, Sakadāgāmi and so on.

(g)- The Pinnacle-

It signifies the Sopādisesa and Anupādisesa.

(h)- The Crest jewel-

It signifies Anupādisesa Nibbāna that is the final emancipation.

1-Explain the origin and Evolution of the Stupa?

6.5.2009- Wednesday-3:00-4:00

Lecutre by Dr. Pieris ---11--- (Second Term)

The origin of the Buddha statue-

After the Buddha passed away, it became a great problem for the architect to make the Buddha image. They consider that the Buddha image should be physically superior to any other images. At the same time, the Buddha image should establish the Buddha spirituality. One the other hand, when we consider the origin of image, there has many problems. The Buddha cannot be compared.

From first century B.C to the first century A. D. there were known the Buddha images. At the very beginning, architect has symbol to rebuild the Buddha image among the trees. There have been known prohibition to the Buddha image according to Buddhism but it is due to the great honor and respect to the Buddha at the very beginning. There were no Buddha images.

The symbols were used as various stages of the life of Buddha. The tree was a symbol for Buddha-hood. The people were assembling the wheel of Dhamma for preaching of the first Buddhist sermon. The Stupa was the symbol for the Parinibbāna. In the culture of Bhāhut, Sanchi, Mathūra and Amarawatī, there is an outstanding feature. Among them, the floral picture of the Stupa, Dhamma-Cakka, and the trees are cultured as outstanding.

At the very beginning, people started respecting these symbols. After that they became objects of worship. There the Buddha images were put arts the Mahāyāna concepts as Trikāya. The concepts of Mahāyāna Buddhism prompted the erection of Buddha statue by worshiping Buddha statue with Saddhā and Virati increase. Therefore, gradual Buddha statues were erecting.

There were also other concepts regarding the making of Buddha statues. Buddhist people consider that by worshiping the Buddha statue, one can acquire (get) merit. The placing the eyes of Buddha statue became a great auspicious ceremony. Relics were also enshrined in the Buddha statue to make the people get rid of signifies in trouble. There Buddha statues were increasing gradually.

Once during the life time of the Buddha, Buddha went to Tāvatiṃsa to preach Abhidhamma to his mother. The King Kudāyana thought that the Buddha will not come back. So he requested to the Buddha t keep a Buddha image. So Mahā-Moggalānathera sent an architect to the heaven and looks at the Buddha statue and come back to the human world and next a Buddha statue


built with Sandal wood. According to archaeological evidence, the Buddhist people in India make the Buddha statue during the first century B. C or the first century A. D. they wonder the Buddha statue was made the feature of foreign characteristics.

The Mathura Buddha statue has traditional characteristic. There the measure of Gandāra and Mathura gave rise the Buddha statue to the Amarawati. After Mahindathera came to Sri Lanka, art and architecture of the Indian structures came to Sri Lanka. Sri Lankan architects always try to make the Buddha statue according to the view of Theravāda Buddhism. They were very particular about exhibition the great compassion of the Buddha.

At the same time, they were also depicted. The Buddha was a person of ten powers. For example: the Samādhi statue at Anuradhapura points out very way of internal virtues in the Buddha. Some consider that make of stone is very similar to the natural Buddha. When we look at the Samādhi statue from one side, we can see the Buddha expecting happiness regarding emancipation. When we look at the statue from the other side, we see the Buddha looking sorrowful thinking about the people who are prattled in the circle of births. When we at the Buddha statue straight, we can see the Buddha in meditation.

There the Buddha images of the later period in Sri Lanka try to emulate Hindu causes as result during 15 century. The Buddha images established at the different in the nature of the Buddha statue Gadaladeniya. The Buddha’s eyes look very fearful. Sri Lankan architectures are clever although they get foreign influence of on the whole. We can conclude that Sri Lankan images are mostly difficult in spiritual nature of the Buddha. We can conclude that Sri Lankan images are mostly difficult in spiritual nature of the Buddha.

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The Buddha statues in Sri Lanka-

The standing statues-

(a)‐Avukana‐

This statue is in the north central prominent. The statue has been carved out of a large boulder to reach. It is still connected by a strip of rock lanked ankle.


The image stands above the lotus pedestal and has a Ṣiraṣpota (Nimbus). The statue shows that attitude of blessing. Therefore it is called the Aṣiṣa Mudra. Even today, it is in a very good state of preservation. According to tradition, this Buddha image is attributed to King Dhātusena.

(2)-Buduruwagala-

It is along the Wellawaya-Hambantota. There is a large rock where many Mahāyāna features are cultured. The middle of the standing Buddha is over fifty feet in height. Actually, it is a sculpture. The right hand of this statue is held in Abhaya Mudra (gesture of giving prohibition) the left forearm bent upwards holding the robe. Today the portion of feet broken of the sculpture is not finished. Therefore we are unable to find out the impression of the architect.

(c)-The standing Buddha image at Gal-Vihāra of Polonnaruwa-

There have a doubt as this is whether this statue of the disciple Ānanda or the lord Buddha for the local. It became a subject of controversy. It is because the hands of the statue are placed in a very unusual manner. This statue is also Tribhaṇga (Tivaṇga) bent at three places of the body with arms folded in the same way and the sleeping Buddha statue is also nearby. People talk that this is Ānanda-thera and but the statue is kept on a lotus and on the head also there is the Uṣniṣa. Therefore, now it has come to conclusion that this is the statue of the Buddha.

(d)-The standing statue of Laṃkātilaka-

It is a large statue made of brick and stucco but it is not in a good position.

(e)-The standing Buddha statue from Maha-iluppallama Farm-

In 3 of the Maha-iluppallama Farm is a standing statue executed in marble. Today this statue cannot be seen completely. Most of the parts are lost. The lotus pedestal is on a sign.

(f)-The standing Buddha statue from Thūpārāma at Polonnaruwa-

The right hand of this statue is amazing. There is no emerging to fit it today. We can assume that this has been venerated the object during the early days.

(g)-The standing Buddha statue from manner-


This standing statue is now kept in the archaeological museum at Anuradhapura. It is 7 feet.5-2/1 inches in height but appears squat in proportion to the other measurements.

(h)-The standing Buddha image from Kucchaveli-

From Kucchaveli, a village some 21 miles north of Trincomalee, has been found the lime stone torso of a Buddha statue which now measures 5ft. 2in in height and 1ft 9in across the shoulders. This statue is supported to be above of Mahāyāna. Today it is in the Anuradhapura museum.

(1)-The seated Buddha statue in Sri Lanka-

Pankuliya- it is a seated lime-stone Buddha statue found at Asokārāma due to the middle fingers on the right hand are lost. Therefore, it is now difficult to imagine what its Mudrā was. This statue is supported to be one of the outstanding statues of Sri Lanka.

(2) Toluvila seated Buddha statue Anuradhapūra-

This statue is now in Colombo Museum. It is seated on Dhyāni-Mudrā (attitude of meditation). It measures 5 feet 9 inches in height and we can assume that skillful hands are in the breadth at the knees. The breadth across the shoulder is 3feet and 5 inches. This is the master mind of the artist.

(3) The seated statue in the cave at (Gal-Vihara)-

There is a cave called the Vijjhādhara-gūhā. Inside the cave, there is seated Buddha statue on a pedestal. Behind the statue is Toraṇa (ornamental arch). There is also the Cāmara (Yak-tail) and deities on the other sides and also parasol (A Chatra). The Statue is in the Dhyāni-mudra (the posture of meditation). The body of the Buddha is proportionate. The features are very well modeled. The attitude of the sculptor can be seen.

(4) The seated Buddha image at Galvihara-

This is one of the bases the Buddha statue of Polonnaruwa. The Buddha is seated on Vijrāsana. In above the Buddha statue, there are Dasabhūmi which is a Mahāyāna notion. The robe of this statue is very well done with the natural outlook. The sign of Watchers can be seen on the seat.

Lecture by Dr. Pieris ---15-- (Second Term)

(a)-Recumbent sleeping Buddha statue-

This is one of recumbent statue of the Buddha in Gal-Vihāra in Polonnaruwa. This statue is forty six feet and four inches in length. The soles of its feet have Cakka that is wheel symbol of lotus mark. The pillow on the head of the statue rests as it well curves. One has been carved with carving depression on the pillow is due to the weight of the head are shown.

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The physical characteristics of the Buddha statue-

The outstanding characteristics of the Buddha are the 32 major marks, the minor marks and auspicious signs in Buddha’s head.

(a)-The head and hair-

The Buddha’s head is called Uṣniṣa. It means the head is round like a water bubble. The forehead is broad. This is Mahāyāna characteristic. In Sri Lankan Buddha image, there are 360 length of hair in stretching. This is a minor characteristic. When the Buddha makes his great renunciation, he cut his hair and bears leaving two inches at hair on his head. It never grew after that. The architects try their build to show 360 lengths of hair. Some architects make Buddha images without any hair on the head. Such a statue can be found at the Anuradhapura museum.

(b)-Forehead-

The broad forehead of the Buddha has been shown by architect as if hair is bent on the forehead but Sri Lankan architects try to make it naturally.

(c)-Unara roma- Spiral hair-

This is the between eye’s brows. This is supported to be a soft white hair curling towards the right side. The architects try to show it sometimes might white dot. King Duṭṭhagāmaṇi make Buddha image according to Mahavaṃsa ṭīkā. It was like a stable bubble golden Colour on wall. This spiral hair emanates the rays of compassion (Karuṇā).

(d)-The Eye brow-


The Buddha had blue black eye brow. It took the shape of a rain-bow. It is called uṣniṣa ṣiraṣpota loma.

(e)-The eyes-

This is 29 major marks. The eyes are dark blue. Eyes ashes are also blue. The shapes of the eyes look like a bloom lotus. And some Sri Lankan images had built blue Colour. Gems are for the eyes. For example: there is Karagaṃpitiya temple at Colombo.

(f)-The Ears-

The Buddha had elongated ears. That means very long ears exhibiting his knowledge. All the architects were very particular in placing long ears.

(g)-The nose-

The nose is minor mark and it is not very long. The architects consider that the nose should be wondered of the face.

(h)-The Face-

The face is round like the moon. The face should always be equal in length and breadth. The Gal-Vihāra at Polonnaruwa, The Buddha statue is exhibiting a very round face.

(i)-The mouth-

The mouth is not very big nor very small always with a pleasant smile.

(j)-The Lips-

They are mentioned in 80 minor marks rays in Colour like a rain fruit.

(k)-The Neck-

The neck is very found round like a conch.

(l)-The Hands-

The hands are nine major marks long and the Buddha can touch his kneel without bending but the architects never try to put this long hands. At the museum of Polonnaruwa, there is a Jina statue with long hands.


(m)-The hands and fingers-

The hands are very soft. The fingers are long and stretched (slender). This is a major mark. The hands are flashy. The palm is full of flash. The nails are soft and coppery Colour. In the palm, the lines are very clear. The links of the hands are from the rise to the end of middle finger. It was equaled to the link of the face.

In the statues of Gal-Vihāra at Polonnaruwa, there are signs of Lotus flowers on the palm. This is Mahāyāna’s influence.

(n)-The chest-

The chest is like that a lion. In Sri Lankan Buddha statues, they are also exhibited. They show the power and strength. The part of the body is above the way round and without any wrinkle. There are known the bones and veins except in the statue of practicing six years austerity.

(o)-The stomach-

It is one of the 80 minor marks. There are two characteristics: (a) Cāpodara and (b) Cārukṣābhagnodāra.

(a)-Cāpodara means the stomach is like a bowl.

(b)-Cārukṣabhagnodāra means the stomach is very beautiful without come and out or boiling feels taking together it. The body is not very fat and nor very thin.

(p)-The Navel- The navel is stood to the right. The architects consider that the navel is a sign of beauty to the body. Therefore, some Buddha statues tried to exhibit like this. The navel is by making the Buddha cover the body with a transparency of nose.

(q)-The waist-

In Sri Lanka and India, the waist of the Buddha has been shown just like that of a man with good personality.

(r)-The Thigh-

There compares to trance of peninsula. The Thera-SriRāhula says the thighs are like the planting trees sections.


The architects prefer to follow the concepts of Sri-Rahulathera.

(s)-The Heel-

This is one of the 32 major marks. Therefore, the architects had shown it with very natural ways.

(t)-The sole-

The sole is flats. There are signs of wheel of Cakka.

(u)-The toes of the Lord Buddha-

They are soft and webbed. At Gal-Vihāra of Pollonnaruwa, there are signs of lotus flowers on the sole instead of wheel. Even before the Buddha statues were erected, the people worship the sacred feet of the Buddha and the signs of the wheels.

(v)-The complexion-

According to 32 major marks, the complexion is golden Colour.

(w)-The Halo-

From the Buddha’s body, there emanate rays from his hair the blue Colour. From his body the yellow Colour, from his lips the red Colour. According to the text of Sumaṃgalavilāsinī, it is said that there is the Buddha’s rays from the Buddha’s body and the rays can reach 160 feet away. And the rays can be classified thus:

(1)Vyāmaprabhā, (2) Raṃsijāla, (3) Ketumāla/ raṃsipunji/ Ṣiraṣpota-

(1)Vyāmaprabhā means the rays produce from the whole body. (2) The second one means the rays spread around the head. (3) The third one means the rays spread upwards.

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There are the Seated Buddha images which are indicated the middle of placing posture feet and also the seat. The method is the keeping of the feet.

1-Virāsana-


That is the most prominent in Sri Lanka. In this Buddha’s image, Buddha is seated in précising feet. He keeps his right foot on the left foot. According to Pāḷi sutta, this posture is suitable for meditation. There are also such images in South India but this Virāsana is a Sri Lankan tradition. Later India must have got the Sri Lankan influence on the left side.

2-Pralambapāda Āsana-

The Buddha is sitting on the seat at putting his legs down. This is a posture common to the third period to India. Such a Bodhisattva image has been found at the temple of Ambalamtota in Sri Lanka.

3-Sayanāsana-

In the recumbent Buddha statue, the left foot is stood on the right foot in sleeping comfortably without making the too needs. It can touch each other. One foot is stretched forward. It is called “Pādena pādaṃ acchādāya”. In the Buddha statue of the Candy period, the Buddha feet are kept on equal level. It may be the reason of Candian sculptures’ concepts.

The Seats-

(1)-Vajrāsana- It is the posture of meditation of the Buddha. His legs are firmly interlocked with the sole of both feet turned upwards. This posture signifies deep meditation and introspection. It is the pose of absolute immobility.

(2)- Addhaparyankāsana- it is in position of sitting image both legs are on the same pedestal with one of the knees raised while the other is bent as in Vajrāsana. This posture is also called the Maharajalila (the posture of royal ease).

(3)-Misssarāsana-

On the seat, there is mixed Vajarāsana, Sihāsana and Padamāsana.

(4)-Phalakāsana-

The Phalaka means the place where the Buddha statue is kept on seated place. Before the lotus is kept as the seat there had been on ordinary seat.

(5)-Padamāsana-


This is the seat where the Buddha image is. The Buddha is standing on a big built bloom lotus at Maligawala. There is a Padamāsana. This is a seat for the standing Buddha in Sri Lanka. Even for seated Buddha images, the lotus is used as a scene. The lotus is always for the simple of Gods. The lotus is considered as a sign of purity. Therefore, Padamāsana is also become very common.

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The postures-

There are many postures such as sitting, standing, walking and sleeping. The most common postures are sitting, standing and sleeping.

The standing posture-

It is divided into three: (a) Samabhaṇga (b) Ābhaṇga (3) Tri bhaṇga-

There is Tribhaṇga image house at Polonnaruwa-

Seated images-

Among them, the Samādhi Buddha statue is the most prominent.

Recumbent Buddha statue-

It is accepted that the Buddha sleeps 32 parts of the body at the right side keeping his palm on the right palm and stretching is left hand on the left foot.

The statue of Gal-Vihāra in Polonnaruwa-

In this example, At Dambulla Devreja-Vihara also there is a recumbent statue of this Buddha. In this statue, we can note that the two feet are not kept at the same level. One foot is a little stretching out. Making this, Scholars consider that the position of the feet became Buddha’s Prinibbāna but we understand from the Pāḷi suttas, Buddha image keeps his feet in this position to sleep comfortably. If he keeps the Parinibbāna, there should be Ānanda thera cry and there should be Sal-tree.

The walking posture is not very common in the Tribhaṇga image house. There is a painting where the Buddha is walking. Here the Buddha is coming down a ladder from the Deva world to the city of Saṇkassa and a similar feature in the sedentary image of the Buddha at Tantirimale closes to Anuradhapura.

Lecture by Pieris ---21--- (Second Term)

Mudrā-

Mudrā means hands.

There are many opinions of scholars regarding the Mudra. (1) Kumara swami says it is a language with show Samitaseya. (2) According to Benjanin Rolan, it is the way of keeping the hands very meditating or expressing a view. (3) According to Godakumbura, It is gestured by fingers. (4) According to Alic gelty, it is an effect of two expresses. Some are hidden idea by means of hands. (5) According to Ganguli or Samadhi Mudra, each is in the middle of keeping fingers at various kinds of stanzas. The many scholars of the views of kinds are followed.

The view of that Mudra is a method of Byāpita (spread). The Buddha exchanges his idea together with it devoting. This Vitaraka symbolizes how the Buddha is preaching to the people. It is a sitting or standing posture with cross legs, and both hands are raised up. The tips of thumbs and first fingers are touched each other. It is said that the increase makes of propagation the posture of figures (Mudra).

In the Mahoshadā jātaka story, it is about the century of between 1 and 2 B.C. In the Jātaka, 546 of Mahoshadā story, there is the word “Hattha amodda”. In this story, the Bodhisattva is called Mahoshada. One day, he met a lady and wanted to commit with her as a wife. Mahoshadā stresses the palm and show to that lady. This word is an indication to ask the lady without saying she is married or not with anybody. She also stresses I had been changing of opinion by means of Mudra.

There are the most prominent ten Mudras in Sri Lanka major marks. (1)- Abhaya mudra, (2) Varada mudra, (3) - Dhyana mudra, (4) - Vitaraka mudra, (5) - Kataka mudra, (6) - Bhumisparsa mudra, (7) - Dharmacakka mudra, (8) - Pratigrahana mudra, (9) - Januhastu mudra, and (10) - Avadhana mudra.

1)Abhaya Mudra-

This Mudra is the gesture of protection. In the right hand, he points out raised up and bends it; elbow is showing his palm with fingers bent slightly. Or the right hand is in eastern to the left side. Avukana Buddha image, Mathura, Gandara, Amarawati Buddha images and also Bodhisattva image point out Abhaya Mudra. It is indicated encourage and fearless nature. And there is also consolation (no worry). The Buddha had given up fear. He also leads others to the fearless state.


In his Mudra, we can see in a Jātaka culture (sculpture) at Amarawati. This Mudra is exhibiting for Dipaṇkarā Buddha the north of Mahathūpa in Anuradhapura of Sri Lanka. The Standing Buddha images are exhibiting Abhayamudra by the right hand in Kataka-mudra. By the left hand is just touching the robe. In Sri Lanka, the most standing Buddha statues belong to the Abhaya-mudra: (a)-Avukana, (b)- Buduruwagala, and (c)- Maligawila. According to tradition, the Abhaya-mudra is tending to the left at the finger escape but in the Mahā-Vihāra Buddha statue, the palm is bending to the palm and the fingers are slightly bent inwards. That is according to the tradition.

2)Varada Mudra-

The right hand is straightened usual and the palm is a little bent to eastern. The finger is a Sanskrit word “souetive”. Both hands are the same to point out that there is honesty and truthfulness. The Buddha is bending to emancipation. These types of statues are common in India. In Sri Lanka, there is one Buddha statue: Hakmana.

3)Dhayana-mudra-

This is also called the Samadhi-Mudra. Both the mind and the body have become calmed and controlled by the Buddha sitting the meditating posture. And both hands are placed superimposing. The right palm turned downwards while the left palm is turning upwards in this Dhayana-Mudra. The body is straight. The Samadhi statue is situated at Anuradhapura between the Abhaya Stupa and the twin ponds. There has this Abhaya-mudra(samapatti). The person in meditation is hands up in like this. According to Paṭisambhidā-Magga, one Mudra is concentration. This always had been the Dhayani Buddha statue. In Sri Lanka of the Matirigiriya and Polonnarawa, there had this style. Paradukkha dukkhita Mudra- it is indicated supra mundane statues and also a symbol of Enlightenment.

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(4)- Vitaraka- mudrā- this symbolizes how Buddha is preaching to people. It is a sitting or standing posture with cross-legs, and both hands are raise up. Tips of thumbs and first fingers are touched with each other.


(5)- Kataka-mudrā- the thick of term is kept close to tip of next finger. Next two fingers are bent as it is touching something. Small finger is also slightly bent.

(6)- Bhumisparsa-mudrā- this is sitting posture of earth touching by his finger. This pose illustrates story of Buddha’s calling earth as his witness for testifying to his right to sit on Vajrāsana under the Bodhi Tree, which was challenged by Mara just prior to his Enlightenment. In which Buddha is presented as being seated cross-legs with arms pendent over right knee, hand with palm turned inwards, extended its fingers down wards, left hand lies on lap with its palm turned upwards.

(7)- Dharmacakka mudrā- Indicating the preaching of first sermon, Dhamma Cakka-pavattana Sutta. This Mudrā is posture of seated Buddha with cross-legs. Both hands are slightly raised up and right hand is stretched up to chest then palm turned out wards. Term is touching tip to next finger making a circle. Left hand is kept upwards and right hand is kept close to left hand. Palm of left hand is turned towards body.

(8)- Pratigrtahana-mudrā- Seated Buddha with cross-legs hands are kept on his left and palms turned upwards. This Mudrā indicates that manner of receiving cakes and drinking water from two merchants. This is not very common.

(9)- Vitarkajanuhasta mudrā- this Mudrā, seated Buddha’s posture, right hand is proved on couch or seat and left hand is placed on left knee-turning down.

(10)- Avadhana-mudrā- Signifying that his mind is paying attending to something, this Mudrā is form of seated male person and hands lay over laps. About this Mudrā many scholars are of various views on it.

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The standing Buddha image at Gal-Vihāra of Polonnaruwa-

The standing Buddha image Gal-Vihāra of Polonnaruwa is seven Meters in tall. It is slightly bent having the Ābhaṇga posture. According to Paranavithana, this image existed before the construction of Gal-Vihāra by King


Parakabahu(1) is the first. Some scholars believe that it is done together with the recumbent Buddha image. There are some views to say that the standing Buddha image is Ānanda. There are also other views to say that the standing Buddha image is Buddha. The following scholars at the early stage consider that the standing statue is the Buddha. Those scholars are:

(1)-Fagon,

(2)-bereh,

(3)-Fobes,

(4)-Steward, and

(5)-Ferguson.

The following scholars consider that this is the image of Burrows and Bell. Later also many scholars gone the views that it is the Buddha image. Those Scholars are the views in Sri Lankan Architectures.

Those scholars are: (1)-Benjanin Rowlan,

(2)- Pro. P.E Fernando,

(3)- Godakumbura,

(4)- Nandasena,

(5)- Mudiyanse, and

(6)- Di Devendra.

The Features of the standing image-

The statue is 7 miters in height. The image is on the lotus pedestal. The body is slightly bent. The robe covers the body leaving the right shoulder. Both of hands pose each other on the breast. The hair is turned clockwise. There is a cavity to fit the Ṣiraṣapata. The Ears are elongated dual ripple shown in the role. The upper section of the two feet, the two shoulders, and the trunk are completely full and raised. The face expression is a big concentration with a faith smile.


The Argument is that the image is Ānanda thera-

(1)The recumbent Buddha image is the Buddha’s Parinibbāna.

(2) The face of the standing Buddha image is sorrowful. The disciple expresses grieving over the passing away (Parinibbāna) of the Buddha.

(3) The passing away of the Buddha statue was confirmed by drawing one foot backwards.

According to H.C.P. Bell, the standing Buddha image was in this posture (Mudra) which is bent at three places of the body with arms folded in that is the placing of the arms across the breast. The recumbent image is another. If it is so, the two major marks do not belong to the same themes.

In brief, the manner of the feet are placed and not a pose to establish. The recumbent Buddha image was depicted the passing away of the Buddha. The Buddhist text also mentions this is the position of sleeping. According to Sumaṇgala Vilāsinī, the Buddha lays down in the lying posture of sleeping at the time of passing away. He had kept the left foot over the right drawn backwards slightly.

At the Parinibbāna, he had kept his feet at the same place as the sleeping. There is the giving the paint cause by the connection of ankles. When he is withdrawn, he keeps one foot forewords. This is called Nippannapatimā (sleeping posture) and it is not Parinibbāna (Pādena pādaṃ acchādāya).

There is different between the sleeping Buddha image and Parinibbāna Buddha image. In India at the Parinibbāna drawing, we can see Sal trees and weeping the disciples. At the Gal-Vihāra, there are no weeping disciples and Sal-trees. The exhibitors say that these features are not rebuilt due to lack of space. The King Parakramabāhu tried in skilful architect because they could have influenced everything but they built in small dimension according to the space.

The art is not Sal-trees because it was not his attention to show the sculpture of Parinibbāna. There are many sleeping Buddha statues in Sri Lanka. They are: (1) - Tooth relic Quadrangal of Polonnaruwa, (2)- The Tirimale, (3)- Anuradhapura, (4)- Attanagalla, (5)- Pidurangala(sigiriya), (6)- Dambulla, and (7) - Ridi-vihara.


All these sleeping paint natures above places are not the Parinibbāna but sleeping. At Gal-Vihāra in the sleeping Buddha image, there is no necessary to have Ānandathera stand. On the other hand, if it is Ānanda Thera, the Stupa should be kept near the feet of the Buddha as it was not the trouble the disciple close to the recumbent Buddha. As the practice of sculpturing recumbent Buddha was coming down from Anuradhapura period. The sleeping Buddha images at Tantirimale and Pidurangala are treated to Gal-Vihāra.

At the food of the sleeping Buddha image Attanagalla-Vihāra and Dambulla at Devraja, there is a standing Buddha image and two seated Buddha images at the foot of recumbent Buddha image. Therefore, from the above discussion, it is depicted that this is the passing away of the Buddha. Therefore, there is no connection between the standing Buddha image and the recumbent Buddha image.

The Mudra is also called the confusion. Since the hands were kept across, some thought it is Ānanda-thera But expressing we have come to conclusion that it is Avadāna-Mudra. Therefore, this is a Mudra of the Buddha and it is not the way of keeping the hands on the breast of Ānanda-thera.

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The Bodhisattva concept-

The practice of the person with Bodhi-citta having obtained future tradition from a Buddha is certain called “Perfection”. According to Theravādins in the past, there were seven Bodhisattvas. They are: a)-Vipassī, b)-Sikhī, c)- Vessabhū, d)- Kakusanda, e)-Konāgamaṇa, f)-Kassapa, and g)- Gautama. The one who is expecting to become the Buddha in the future is called Maitreya Bodhisattva. He is called Bodhisattva from the time. He is at the Tusitā Deva world. The Gautama Buddha is also received his tradition from 24 trior Buddhas for his attaining Buddha-hood in the future. He practiced the Perfections for 4 incalculable (Asaṇkheyya) and a million Kappas. His life as Bodhisattva is given in Jātaka story.

In the Mahāyāna Buddhism, there are Dhyāni Bodhisattvas as Saṃbhoga kāya lives at Sukhawatī. They are sons of Dhyāni Buddhas. Therefore, these Dhyāni Buddhas have Bodhisattvas’ sons. According to Saddharma Puṇḍarika’ there is a Bodhisattva called Avalokitesvara. He takes various forms and various places. His teacher is Manjūsrī.


In Theravāda Buddhism, there are no Dhyāni Bodhisattvas and also a theory of Sambhogakāya. In the Mahayana Buddhism, the Maitreya Bodhisattva is given the place among the Dhyāni Bodhisattvas. In the Mahāyāna as well as the Theravāda Buddhism, the concept of the Bodhisattva is accepted. Therefore, they are of two types: 1) - In Pāḷi Buddhism, the Bodhisattvas are human forms and 2)- In Mahāyāna Buddhism, the Bodhisatvas connected with Sambhogakāyas are Dhyāni Bodhisattvas.

The Bodhisattva worship in Sri Lanka-

At the early state in Sri Lanka, there was the worship of human Bodhisattvas. They are:

a)- Vipassī, b) - Sikhī, c) - Vessabhū, d) - Kakusanda, e) – Konagamaṇa, f) - Kassapa, and g) - Gautama. In the cave of Kuruṃdaka, there is a picture of renunciation of seven Buddhas but they are actually Bodhisattvas. In the dome of Ruvenvali Dāgaba, there are pictures of Gautama Bodhisattva. It is also believed in Sri Lanka, King Duṭṭhagāmaṇi and his brother built the chief disciple of the Buddha Maitreya. Saliya will be his son.

After that, the influence of Mahāyāna Buddhism, Bodhisattva became kept to worship. King Mahāsena made Bodhisattva statue. His son had made a beautiful Bodhisattva image. Perhaps it may be Avalokiteshvara of Maitreya. King Dhātusena made the Bodhisattva image with various types of adornments, suitable for a King.

In India, the worship of Bodhisattva started during the 3rd century A.D. According to Hiensiyan, A Sinhalese King had got to Magada and worshiped Avalokiteshvara in the Statue. Some of the Sri Lankan inscriptions mentioned and made of Avalokiteshvara. The record of Vijayārāma (Pabbata-Vihāra) mention it is made of Tara. In Sri Lanka, we have found a Maitreya image from Dambegoda which is about 30 feet in height. The right hand shows Vitaraka- Mudra and the left hand shows Vajrahumkara-Mudra. There is addressed it which is suitable for a King. The King was forced to make a Bodhisattva statue of this nature.

During the 7th and 10th century, Mahāyāna became very powerful. During this period, there have been many Mahāyāna Bodhisattva images. There were


Bodhisattva images. According to Pallama, there is culture, at Veheragala, there has been a Bodhisattva statue which is unique. This is something in very special. The body is also bent very well. And these pleases are also single. In this manner, the Bodhisattva images became familiar.

At the end of the 10th century, there were ambitions of Colas because of the Buddhism had to face trouble. Therefore, there was changed in the religious background. The Parakaramabāhu the first became the King of Polonnaruwa. He gave a message to the monks asking them to join the Mahā-Vihāra instead of staying at the Abhayagiri and Jetavana. He wanted to unite the Order as result of peace request many monks. From Abhayagiri and Jetavana came to Mahā-Vihāra as result Mahayana idea gradually in the Mahā-Vihāra. The King himself makes the two images as Maitreya and Nāga.

At Dambulla, in the Maharaja-Vihāra, there is a Buddha statue. In the middle on one side, there is the Maitreya Bodhisattva and on the other side Nāga. There are Sri Lankan literary sources. They also mention about the worship of Nāga. Since Mahāyāna Buddhism accepted Bodhisattva worship, Mahā-Vihāra monks also followed. Out of all Boddhisattvas, Theravāda Buddhism accepted to Maitreya Bodhisatva.

Some Sri Lankan Kings consider themselves as bodhisattvas. In this manner, Bodhisattvas are worshiped to prove in Sri Lanka. It became a great challenge in the Mahā-Vihāra and they are ready to face challenge. It is not enough worshiping only Maitreya Bodhisattva.

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The Bodhisattva Concept in Sinhalese Buddhism

During the Anuradhapura period, there is a book written in Pali, named Mahāyāna. In this text, a concept of Boddhisattva is given. The Bodhisattva had to practice virtues to become the Buddha of a certain period. Some had to practice four incalculable (Asaṇkhyayya) and one million Kappas. Some had to practice for eight incalculable (Asaṇkhyayya years and the other for sixteen incalculable years. King Parakramabāhu(1) united the three Nikāya of Abhayagiri, Jetavana and Mahā-Vihāra. As the result, Mahāyānism is either Mahā-Vihāra which was the center of Theravāda Buddhism. Due to this mixture


in Sri Lanka, the worship of Bodhisattva started. Mahāyāna practice was worshipping Avalokiteshvara.

In Sri Lanka, it was introduced in another way as worshiping Nātha. Nātha means Bodhisattva Maitreya. So, Avalokiteshvara, Maitreya and Nātha were considering giving in similar status. The Pali text, DasaBodhisattva Utapattu, describe ten Bodhisattvas including Maitreya. However, Hindu gods were also given the status of Bodhisattva. At the end of the Hindu god’s name, the words Nātha were added. There are eight Nāthas of this type. They are: a) Siva Nātha, b) Brahma Natha, c) Brahma Natha, d) Viṣanu Nātha, e) Gaurī Nātha, f) Matsyendra Nātha, g) Bhadra Nātha, h) Bauddha Nātha, and i) Gana Nātha.

These eight were considered as various forms of Avalokiteshvara. However, those concepts were influenced by Hinduism. We can observe that even in the Jinapanjara Paritta, the mention of these Nāthas can be seen. However, there are eight Bodhisattvas. They are as follows:

There are Ksitigarbha, Vajrapani, Vyamagarbha, Avalokiteshvara, Viskambin, Manjughosa, Samatabhadra, and Maitreya.

Other than Maitreya, all the rest are Mahāyāna Bodhisattvas. Maitreya is common both Mahāyāna and Theravāda. After the Second Council, there was held by the Mahasaṇghika, they entertain the worship of Maitreya. But even before that, Theravāda Buddhist also has the concept of Maitreya Bodhisattva. However, we can come to a conclusion that the worship of Maitreya is common both Mahāyāna and Theravāra.

Bodhisattva images

Avalokiteshvara-

In Sri Lanka, with regard to these images we had found. We can divide these images into sections: a)-Yogī-Avalokiteshvara and b)-Rāja Kumāra. Avalokiteshvara-

Yogi Avalokiteshvara-

This image is an imitation of the picture of Ṣīva. According to Professor Dohanian, Sri Lanka got these images during the Pallava period.


In Sri Lanka, we have seated and standing images of this type. In the Colombo museum, there is a standing image of this type. The posture is Samabhaṇga (straight). The right hand has Abhaya-Mudra. The left hand has Kataka-Mudra. The dress is a type of Dhotiya, the Hindu type. The body is covered by a narrow strip of cloth. The hair is called the Jatamakuta. On the top, there is lotus. And there is a string of purple hanging from the head. The hair is also falling on to the shoulders on the Jatamakuta, there is the Dhyāni Buddha sculpture. This type of image of a standing Yogi-Avalokiteshvara can be seen at Buduruwagala.

There are seated Yogi-Avalokiteshvara statues. One of these statues can be seen at Veheragala. This image exhibits the method of Maharājalilāsana. One leg is kept down behind the left thigh and the left hand is Kataka-Mudra since the body is slanted. The weight of the body is on the hand. On his right hand, there is Kataka-Mudra. Since the body is slanted, we can see some lines on the body. From the upper part of the body, there is a thin strip of cloth. On the head, there is the Chatamakuta.

Rāja Kumara-Avalokiteshvara-

In Sri Lanka, there are Raja Kumara images. They are full dressed. From Tiriyāya, a bronze statue was found. Left hand is Kataka-Mudra. The posture is Samabhaṇga. Right hand is Vitarka-Mudra. Head is Karamakuta. Ear is Makara Kuṇḍala. The neck is a necklace. The hands are bangle. Across the body, there is the Yannopavita. This is called Patmapani-Avalokiteshvara.

Khasarpana Avalokiteshvara-

He is a symbol of great sympathy. In his hands, there is a pot of ambrosia, which is a heavenly drink. Near him, there is a Peta (the dead one) with his mouth open. This type of image was found at Nalanda Girige. It is a place of Hindu influenced. The body is Samabhaṇga. In the left hand, there is a lotus. Right hand is the Varada-Mudra.

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Potalakava Avalokiteshvara-

This image shows the Bodhisattva statue in the rock of Podala. Now it is at the museum of England. It has been taken their forms there from Sri Lanka.


This is a Seated image. The right hand is kept on the right knee. It is the Varada- Mudra. The left hand is on the left leg. In the hand there is a flower with a stamp. The rest are beautiful costumes of King. On the left shoulder, there is a skim of Tiger. There is a band on the forehead. Abuttal in the necklace can be seen he also there Yauopavita.

Padmapani Avalokiteshvara-

He is the son of Amitabha dhyāni Buddha. It is a seated image. The right hand is on the leg. It is Varaka-Mudra. On the forehead, there is the Uṣniṣa. The neck is a dome with beautiful necklace. The ears are with earring. Waist has a waistband. On the head, there is Bhayatamakuta. And the hair is falling down to the shoulder.

Avalokiteshvara Nātha-

In Sri Lanka, Buddhism, there are eight Nāthas for Avalokiteshvaras. There are 8 Nāthas: all of them are Hindu called. In Sri Lanka also had in Sinhalese Buddhism, Nātha is divided a place. It has been done because Buddhism always accepted living in harmony. In India, there were two religious who have Jina and Ṣīva. Therefore, in order to stop conflict among these two Buddha Ṣīva and Viṣnu. Both were considered as observing similar statues. Therefore, in Sri Lanka, there also had the Paritta jinapanjara. There is the mention of 8 Nāthas. 1)- Ṣīva Nātha 2)- Brahma Nātha 3)- Viṣnu Nātha 4)-Gaurī Nātha 5)-Matsyendra Nātha 6)-Bhadra Nātha 7)-Bauddha Nātha and 8)- Gana Nātha.

Yogi raja Avalokiteshvara-

Manjūsrī signifies Paññā. He is the son of Dhyāni Buddha. He is supported to be the advisor of Maitreya Bodhisattva. According to the inscription of Tiriyāya, he stays at Girikandi-Vihāra. He is famous regarding art and architecture. The Manjūsrī citrakarma, Manjūsrī vastuvidya sastra, Manjūsrī Mulakalpa are giving over to the name of Manjūsrī Bodhisattva. This Bodhisattva takes various forms.

Apararana-Manjūsrī seated posture left hand is on the leg. Right hand is straight up with a symbol. There is a flower in the hand sometimes. The symbol is symbol of wisdom.


Pancavira kumara Manjūsrī-

This is called the Kuṣtarajagala of Weligama. In this image, on the head, there are four Dhyāni Buddhas. According to the Scholar Dohanian, this is a Manjūsrī image. According to Senarat Paranavitane and Lohizen, this is the image of Samanta-bhadra. They thought that it is samanta-bhadra because there is a Gem in the hand of image. And Dhyāni Buddha had also this on the hand. The head of this image points out the following Dhyāni Buddhas. They are Akṣbaya, Ratnasambhava, Amogha siddi, and Vairo cana.

Therefore, there are various views about this Bodhisattva. Prof, C. Wikara magamage accepts that it is Manjūsrī Bodhisattva. The Mudra is a special one called Cin-Mudra similar to Vitaraka-Mudra. The statue is sculptured on the face of the rock. The standing image is straight. There is ornament as bangles, earrings, necklaces, bells and feet dab ration.

Sthiracakra Manjūsrī-

According to Sadhanamala, this is another appearance of Bodhisattva manjūsrī. In one hand, there is sword and on the other hand, we see Varada- Mudra. The body is wide standing on a lotus having the moon of costumes are shining wearing royal ornamences. Showing lust and passion with full of rāga. He is with his wife. In Sri Lanka, there is couple at Isurumuni-Vihāra. They are supported to be Manjūsrī ṣiraṣaka is his wife. There is also a sword. The hallow and the sword give the little of wisdom. Some consider it is a young couple.

Some thought it is Ṣīva and Pawatī. But if they are a male and female in love how can they be a shining hallow between the two features. The male feature turned to the left from the way, turn to the right from the chat again turn to the left from the head. His right hand shows Kataka-Mudra. Left hand is kept on the shoulder of female. The female feature has the mug to the left. The chat turns to the right. The right hand is Kataka-Mudra. She is seated on the left leg on male feature on the feet kept down wards. She is wearing a long dress and adorns with ornamences.

This is the end of the Second Term\\.

This is the beginning of the Third Term!

12. 8. 2009- Wednesday-3:00-4:00

Moon-stone

The moon-stone is an outstanding architectural form placed at the entrance of Monastery. In Sri Lanka, there are many moon stones, according to the sculpture, they are their nature and they are different from each other. We can consider that the moon stone is the first step at the entrance stair case. Most of the moon stones are semicircle in shape.

The third moonstone is different in the Mahāvaṃsa, as “Sopānaṃte pātikaṃ”. That is the step at the beginning of the square shape. According to Mahavaṃsa ṭīkā, there is “Addha canda pada gaṃtika, having the shape of half of the moon”. Therefore, we can assume that the moon stone is having the shape of half of the moon.

History of the moonstone-

The beginning of the moon stone can be given thus: during the time of the Buddha, Visākhā offers the Pubbārāma to the Buddha. At the time, there were a lot of devotees, they offer various things. At the ceremony, one of Visākhā friend came to land. She had brought as an offering a beautiful rug. She was searching for the place to offer this. She kept it at the first step of the stair case. This was supported to be a symbol of the moon stone.

Written evidence, regarding the moon stone, it can be stated thus the story of enshrining the relics at the Mahāthūpa. There gives an accident a Thera called Sonuttara went to the Nāga world to bring some relics from there and to enshrine in the Mahāthūpa. Then the Nāga king told the Thera “even if you collect all the precious gems in Sri Lanka, you cannot compare it to the first step of the stair case at Ruvanvaliseya”. Therefore, according to this utterance, “Sopānante pāṭikaṃ” the moon stone was called “Pāṭikaṃ”.

The moon stone at Abhayagiri is called Pāṭika. Paranavithana says the word Pāṭika means the division the world into two sections: Mundane and Supra-mundane. This division gives a philosophical as quite regarding the moon stone at the early stage, the moon stone was supposed to be spreading luster. This is because early people were based on the worship of the Sun.

Lecture by Dr. Pieris ---34--- (Third Term)

According to Prof. Gunapana senatira, the moon stone consists of three objects: 1) Wish fulfillment, 2) Aesthetic Chatra, and 3) Trior preparations to induce piety.

There are many types at moon stone during the Anuradhapura period, the moon stone was placed because it was difficult for the people to walk at the beginning. It was square shape but it because dangerous for the devotees who are walking due to the sharp. There they make a semicircle. Some scholars think that the moon stone was placed nearest kept stopping the steps moving down wards. However, at the beginning the moon stone was very simple. For example, there were: 1) Simple moon stone at Vessagiri, Mihintale, Rājagirilena Riligala. The motive of this simple of moon stones is to depict the serene thought free from defilement.

At Abhayagiriya near the most entrance, there is a moon stone which is large inside. This has taken amused stage the moon stone appear as the sun rays. There are three sections: in the moon stone the outer section is larger than the other. This moon stone is made by joining slab of stone. 2) There is a simple moon stone at Mirisawetiya and Monarapiriwena. 3) There is another type of moon stone at Sri-Mahābodhi. And 4) there is E. th-pokuna- Elephant Pad.

With the development of moon stone, there arose various views regarding the creeper. This crepe is well difficult in the past moon stone which is known

as 5) Bisomaligawa. The foliage pattern of the moon stone is different from one moon stone to another. It is very well difficult in Bisomaligawa moon stone.

Here the foliage pattern is very thin in delicate. It looks natural. There are well and flowers in building between Thūpārāma and Mahāthūpa. There is moon stone where the foliage pattern is very earnestness. There is also a building

behind the Mahāthūpa. There the moon stone is very beautiful. There is a flower arrangement with stamp and they keep a picture of a semi-circle with flowers.

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Bisomaligawa moon stone

1)-The designs of flames

2)-The horse, elephant, bull

3)-The foliage pattern


4)-The swans

5)-A thin foliage pattern

6)-The lotus

According to Patana-vithana, there is the section No- 1). This is pointing

Out flames that are fire (saṃsāra). Because of this fire is the whole burning.

2). These Depict Jāti (birth) Jarā (old age) Byādhi (sickness) Maraṇa (death). Patana-vithana has failed to mention what animal are Jāti Jarā Byādhi and Maraṇa.

3). It is foliage with flowers, leaves, twisted together.

4). It is the wise swan with a lotus carried in his mouth. It shows self control.

5). It is foliage which is thin. It shows gradually the lust has decreased.

6). Lotus depicts Nibbāna.

The animals always run from left to right. There are various opinions about the number one section in the moonstone.

Patanavitana says it is flames then. Smither ananda kumara swami says they are lotus petals. D.T Devendra also says they are flower petals. M.Wickramasinghe says there are just drawn for beauty. With regard to the animal that is No-2 section, Bell says they show the four directions and the four-fold Gods. Rolandsilva says the swans that are No. 4. Section, show the four directions.

There are criticisms about the confusion of the symbols of the moon stone. There is an opinion that it is not correct symbol to the Lotus. Some say it is not correct symbol to the bull but some others say that all these symbols are auspicious. By confusing these auspicious signs, it will be welfare to devotees. In Sri Lanka, during the Pollonnaruwa period, the shape of moonstone was different. There was no bull. During the Candy period the shape is different.


Guard Stone

In Sri Lanka, the Guard stone exhibit an important symbol pointing out the heritage of Sri Lanka. The guard stones are divided into two sections: 1) Guard stone with sculpture. 2) Guard stone without sculpture. They are placed at the entrance of Monastery and Royal building. At the beginning, the Guard stone was very simple. The outer circle was shape very well.

The purpose of making a Guard stone was to stop the wing stone pushing forwards. According to various Scholars, it is pointed out that the made idea is the protection of the wing-stone pushing forwards. According to various scholars, it is pointed out that the made idea is the protection of the wing-stone but some scholars say that guard-stones are kept to make the entrance beautiful and also to make the entrances complete.

There are six types of Guard stones: 1) the first type of Guard stone is the elongated rather square shape plane guard stone. This type of guard stones are found near the entrance of ancient Monasteries. In such cases, the moon stone is also very simple.

2) In this guard-stone, on the top, there is the knot. Perhaps they have done this to make it beautiful in this case also the moon stone is simple.

3) Later on, the guard-stone became a pot of flowers. These indicate prosperities and bear Victory. According to Sri Lanka sculpture, the Pot of flowers is with an auspicious sign, it gives an aesthetic charm to the building. Regarding to enter the building, it will be refreshed pictures. There is this type of Guard- stones at the cave temple called Res-Vihāra. And there is the symbolizing of complication of Abhayagiri.

4) After the flower of the guard-stone because the form of a Vāmana, these types of guard-stones are placed on both sides of entrance. There are two Vāmanas: one is called Saṇkha and the other is called Padama. One is having conchal and the other is having lotus on his hands. These two Saṇkha and Padama are two Vāmanas to protect the way of Kuvera. According to Peom Meghabūta, they are placed on either sign of the house of a Yakkha who was a servant of Kuvera. Therefore, some consider both of them as Yakkhas. This concept came to Sri Lanka from India. But Sri Lankan architects make them different according to their culture.


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During the five stages, we observe the figures of the Nāga. This is the Nāga in the human form. During this period, all the other types have going together. We can see this Nāga form at the entrance of Monastery. And one had there is the flower form. The other had there is a foliage at the feet of the figure. We can see two Palirava (bhāvanā) figure. On the top of the head, we can see the Nāga form. Sometimes there are seven hoods and sometimes five hoods.

(5) This guard stone became very famous little by little. There were differences in some guard stone and there were seven hoods of the Nāga, sometimes there were three hoods of the Nāga. The Vāmanas are kept below in some guard stones. There were two Vāmanas and some others there was only one Vāmana. The arch is also different form one guard-stone to another. And some guard stone the arches played and some other the arch is decoration. The Vāmana feature is sometimes Triple wider the Nāga feature. It is as if to say now go out who had no place. Sometimes, we see the Vāmana look it up at the Nāga feature Makara-torana as if to say I have also still having a place in the guard stone.

(6) Ratnaprāsāta guard stone- with this guard stone we have built the last link in the chain of development the arch above the feature is well sculptured. At the base of the arch, there are heads of Makara with their mouths open upwards. The center of the arch, there are double Makara heads with their mouths open to the sides. Of the mouth of Makara is throughout the lion. The Nāga king is very strong with muscle. Only one balustrade is in the inflow there.

The Guard stone at Abhayagiri

The balustrade only the Vāmana has attractive face with fully open mouth with the smile only lips. The hands and legs are shown. There is a Yajña Sūtra, the sacred thread is indicating that he belong to the highest clan in the society. A full bloom lotus is on the head. Therefore, it is called Padama. His companion on the other side of Abhayagiri is called Saṇkha. It is because on his head. There is a Chank (Conchal). These two are personification of the two researchers of Kuvera.


This two have Makara-kuṇḍala on one ear and Patra-Kuṇḍala on the other. This is an accepted concept of the feature as half masculine and half feminine. The Vāmana is there in two bracelets on the upper arm. There is also a ring into necklaces and there is scanty loin flow. There are three tranches of coils kept together hanging down from the left hand and turning towards the right hand.

Nāgarāja

The Nāgarāja guard-stone is of two types. One is the full Nāga figure and the other is the human form. Both of them are at the entrance of monastery. They keep many forms at the same time. There are Nāgarāja guard-stones at ponds near the twin ponds at Anuradhapura. There is a figure of Nāgarāja in the guard stone. That guard stone is different to the Nāgarāja human form. The Cobra is considered to be the guardian of the water in the treasure.

The sculpture stone is with figure of multi-hooded. This accept of Nāga is near park to protect the water sometimes. Even images of Cobras are placed at the four corners of the relic chamber of Dāgaba to look after the treasure enshrine. There was a common believe people are born as Cobra to protect treasure. They have very in their previous lives.

There have been some guard-stones with the four guardian deities in the guard-stone at the entrance of Monastery.

2.9.2009-Wednesday- 3:00-4:00

Pancāvāsa

Pancāvāsa is a term explaining a group of five monasteries. They are belonging to the non-systematic group of Monasteries. Mahā-vihāra, Abhayagiriya, and Jetavanārāma areas have many Pañcāvāsa Monasteries. However, although they spread out in a non-systematic pattern, all of them have their entrances in certain order. In the Middle, there is a Rectangular Monastery. On the fourth side, there are square shapes of monasteries. The square shapes of Monasteries are facing the Middle Rectangular Monastery. The main Vihāra in the center faces the Cetiya.


When Mahinda-Thera came to Sri Lanka, the King was Devānaṃpiyatissa. Mahinda-Thera accepted the offer of Mahāmegha Park. And also explained to the King where future building will be established. Those places were supported to be touched by earlier Buddhas. He pointed out where the Cetiya will be built, where the Arm Hall will be built, where the Bodhi-tree will be planted and so on.

In the book of Mahā-Bodhivaṃsa, and Saddharmālankāra, it is said that there is a certain plan of the building of Mahā-Vihāra, fourth buildings are having a similarity to a posture of a Lion. It is called Siṃhavikrānta. The Siṃhavikrānta lay out depicts that posture assumed by an imaginary Lion looking back which is head turn from the right. King Devānaṃpiyatissa was accepting the advising of Mahā-Mahinda Thera taking three refuges and constructing Mahā-Vihāra, at the Mahā-Megha Park thus make a Siṃhāvikrānta lay-out.

At the tip of the tail at the Sri-Mahābodhi Ghara, near the right foot is the Lovāmahapāya. The Sannipātasālā is near the left foot. Ransimālaka is near the left side of belly (stomach). Near the right hand, there is Bhatta-sāla. Near the left hand, there is Ruvanveliseya. Near the neck, there is Kanṭhaka Cetiya. The Paṭimā-ghara is near the chest of the Lion sitting of the release position looking back by turning from right by touching on the grown.

According to above description, from the prehistoric courses and learned courses, we understanding that Monasteries were gathered in Anurādhapūra. According to archeological courses, out of these monasteries units we can come to three types of conclusion. 1) Residential building. 2) Ritual building and 3) Ecclesiastical building.

Out of the Residential buildings, the most difficult building is not systematic monastic of a group of Mahā-Vihāra, Abhayagiri, and Jetavanārāma is the Paṇcāvāsa. It is cluster of four large square cells or dwellings system metrically. There is placed around a larger Retangular structure or Pāsāda in the Center. There are various views about this architectural plan. At the early state, some scholars give the name “Pañcāyatana”. But it is proved that “Pañcāyatana” is the more suitable wall.


The followings are the views of various scholars: the archeological have given their concept of Paṇcāvāsa, burrows, his speech of a central Vihāra and four chapels. They are a caster of five detach buildings which are religious buildings. According to Parana Vithana, the central Pāsāda is a temple. Although there is known evidence to show that all the buildings has Buddha images. There were Buddha images in all of the principle Pāsāda. According to Prematilaka, he says all five are Buddhist shrines. The main one is in the center. Others are separated from it. According to Senaka Bandaranayake, he says they are residential buildings. But he views the term “Parimena” and said “Paṇcāyatana parimena”.

According to H.C. p. Bell, he uses the term “Pañcāyatana”. But this term does not occur in Sri Lanka sources. There is known usage of Buddhist as “Paṇcāyatana”. The Hindus have five Deities are called “Paṇca mukha”. According to Lingama of Ṣīva S.B and Hettiarchin Kulatunga, they said this unite is “a Paṇcākāvāsa”. Therefore, today we have accepted that this monastic plan of five buildings can be considered as “Pañcāvāsa”.

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The development of “Paṇcāvāsa” can be seen as follow: at the beginning, there was only single “Āsāsa”. There after it became two. After that it became three buildings. The group of three buildings can be seen at the Mirisavaṭṭi complex. Finally, there arose five buildings surrounded by a wall. The term Paṇcāvāsa means Paṇca+ āvāsa- Meaning five Āvāsas. The term Paṇcāvāsa is different from the term “Paṇcā-mahāāvāsa”. There are five “Mahā-āvāsas”. They are: 1. Mahā-Vihāra, 2. Thūpārāma, 3. Mirisavaṭṭi, 4. Vessagiri, and 5. Mihintale. These “Paṇcā-Mahāāvāsa” have their own ritual buildings, residential buildings and ecclesiastical buildings. The “Paṇcāvāsa” is a Micro unit within the micro unit namely: “Pancā-Mahāāvāsa”. There are five independence Monasteries.

The term “Paṇcāvāsa” is used in Pāḷi and Sanskrit languages. It indicates a common knowledge both in Theravāda and Mahāyāna Traditions. There are literary and architectural evidences regarding “Paṇcāvāsa”. The term “Pancāvāsa” occurs twice in the first part of “Mahāvaṃsa”, both these references are found in the 36 chapters. The first reference in the “Mahāvaṃsa” is as follows:


“Kappukāgāma vāsissa - Devatherassa Santike

Dhammaṃ sutvā patikammaṃ - Paṇcavāse akārayi”.

The King had got the sermon delivered by Deva-thera the cause of Patikammā in the Paṇcāvāsa. According to this word “Pancāvāsa” is a Monastic unit of the Saṇgha. In this word the “Paṇcāvāsa” is in the Monastic of Deva-thera of Kakukāgāma. These types of “Paṇcāvāsa” groups are seen in the Mahā-Vihāra, Abhayagiri-Vihāra and Jetavana-Vihāra. King Jetha-tissa had aerated the Pācinnatissa Pabbata-Vihāra and bestowed to the Saṇgha of Paṇcāvāsa. In this Manner, the “Paṇcāvāsa” became a famous monastic unit in Anurādhāpura.

The “Paṇcāvāsa” groups are the most difficult monastic building in the non-systematic major type in the Mahā-Vihāra, Abhayagiri and Jetavanārāma. It is a cluster of four large square cells all dwellings systematically placed around a larger rectangular “Pesāva” in the center. At first, these five buildings may have not existence at one place. Later these five got arrangement as a separate unit. The chief monk is supported to have taken in the middle rectangular “Pāsāda”.

Some Scholars called the square Pāsādas but since there are paved spaces. They can be considered as storied building. Therefore, the square Āvāsas can be called “Pāsāda” and not “Kuṭi”.

The “Paṇcāvāsa” images are very developing in Architectural features. In the entrance, two “Paṇcāvāsa” is much elaborated. There are moon-stones and guard-stones and Balustrades. The purpose of the “Paṇcāvāsa” is given in text books. The “Mahāvaṃsa” and “Dīpavaṃsa” record about the usage of the “Paṇcāvāsa” unit the stands are already giving mentioning the ward “Patikamma”. It means the treatment of sick monk. The “Dīpavaṃsa” also mention that the King having heard the “Gilāna-sutta” of Deva-thera and offer medicine to these five buildings.

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“Mahāvaṃsa” is also an Agreement with this idea. Archaeological evidence also confers this will. There are “Jantāgharas” near the “Paṇcāvāsa”. This covered from Anuradhapūra. There are stores for rending medicines. This Lecture by Dr. Pieris ---42--- (Third Term)

“Jantāgharas” were for the benefit of six. There is also the evidence of these buildings in Literature. In this manner, “Paṇcāvāsa” monastery has “Jantāghāra” also. There is a “Paṇcāvāsa” in Abhayagiri-Vihāra where we can see more than one “Paṇcāvāsa” in one monastery. This is different from the others. The extra “Paṇcāvāsa” have been constructed to six monks because the six monks cannot go together. There have been images installed within the monastery. Those who wanted treatment stay in the extra “Paṇcāvāsa”. As conclusion, the term “Paṇcāvāsa” is used to denote:

1) Independent five monasteries of Saṇgha.

2) A unit of five buildings.

Pabbata Vihāras

“Pabbata-Vihāra” was situated away from the Anurādhapūra town during the period of seven and ten century A. D. There arose as systematic monastic type. Few kilometers away from half of Anurādhapūra town, “Pabbta -Vihāras are left an existent compare to the Major Monastery of Anurādhapūra but they are well systematic in their plans. When situated in high elevation they can be capitalizing as follows: 1) Toluvila and Pacinnatissa Pabbata. 2) Puliyankulama.

3) Pankuliya. 4) Vijayārāma. 5) Vessagiriya. 6) Kaludiyapokuna.

7) Ruhunumahāvihāra.

The buildings were situated in the sacred Quadrangle are as follows: a) is the sacred building. The Paṭimāghāra is (B). It is the most Dominating building in the entire complex became there is the Buddha image. The Buddha image is in the center. There are enough roofs for the worshippers to Circum-ambulate the statue. The “Bodhighara” is (c).

It has a square plan and four entrances. The Bodhi-tree is planted in the center of the square which is a bit elevated place because there is no roof the tree spreads itself well. There is also apart for circum-ambulation. There is also a flight step leading to the tree for the purpose wandering there. The Stupa is (d). It is having a distinct characteristic because of the height of Stupa is less than 15 feet. There are four flowers altars facing the four entrances.


The Uposatha-ghara is (e). This situated further from middle or main building because it is used for the monks for bear ecclesiastical acts.

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It is obvious past. It is a Buddhist Monastery lay out. The virtual building should be given the most prominent place leading place). It is in the sacred quadrangle away from the living area (living platform). People perform for activity of religious worship in this building with also a four aesthetics attraction. Therefore, this platform is very important. The worshipper moves from one shrine to another in a certain sequence first the Bodhi-tree then the image of the Buddha and finally the Stupa.

In this sequence, the Bodhi-tree represents the Enlightenment. There is the image of the Buddha after that Enlightenment and the Stupa of the passing away. Yet, there is another pattern of worshipping with the Stupa first (Saririka) the Bodhi second (Pariphobika) and the Buddha image third (Ubbbesika) as the finally stage. The dwelling platform is (f). It’s situated below that of the sacred quadrangle. There are cells (g). Systematically, it is distributed on all four sides of the platform. So, it is like to sacred quadrangle to with their lineage. Pasādas these cells are also link to one another. On the dwelling platform, there are libraries, store houses, ponds wells and lavatories.

The moat (h) forms are distinct feature surrounding the central moat. It is from the sacred quadrangle to the dwelling platform. The out of platform consist of the areas that like between the moat and the boundary wall. In this section, there is the bath house (Jantāghara) and the refectory (Bhattasāla) located. Actually, there is the entire monastery. There is a simple brick or stone wall. The entrance to the whole complex is widest by the entrance touch with a guard moat.

Thus, the layout of a Pabbata-Vihāra is very systematic following a ground plan. According to the Vidūriya sutra, they are constructed on brick and each building separately make to square of the brick.

Therefore, this is a great develop monastic life. The monks who live in the outer complex were basically sacred platform for the purpose of worshipping the Bodhi-tree. The Stupa, the Buddha image, the bath and refectory are situated very flow to the cells. And therefore, it is easy for the


monks to take meals are debark. The Jantāghara is a service building which is versa time in the Character.

Mahāyāna influence

Literary in archeological evidence is to show that Pabbata-vihāra had Mahāyāna influence. According to inscription, the Puliyankulana is delicated to the monks who came from Abhayagiri monastery at Vijayārāma. According to archeological evidence there have been the worship of Tarā and Avalokiteshvara.

Life of Monks-

The residential live in the outer complex. They visited the sacred platform to worship the Bodhi-tree the Cetiya and the shrine. The monks visited the lower complex for meals and bathing. Pabbata-vihāra follows a ground plan. According to Vasatu-Vihārasutra, they follow a great system. The brick of 25 is called Upapitha. Each square are dedicated to Vasatu devatā or God. They are named after 8 deities. The 8 deities: 1) Isa 2) Aditya 3) Agmi 4) Yāma 5) Nirta 6) Varuṇa 7) Vayu and 8) Soma.

Brahma is auscupied the central square. The distribution is systematic one building should be built one square. If one building touches the other building Vasastrol (unlucky), these descries are played according to the Dhātu-mudra. The gate in the east for the influence of esthetic like at success. The gate in the south is wisdom and virtue. The gate in the west is next the members famous. The gate in the north is developing virtues and penances (solitary life).

The Pabbata-Vihāra has various service buildings. Homasāla is a four for Meditation. Divyamantapa got Pavillion. There is Havyasala for ritual (pūjā) and Dhanyasāla granary (stones house). Vherigrha brummuing nartyamandata is dancing hall. Dhramamantapa is Preaching hall. Viara mantapa is lecturing hall. Pusphamantapa is flower hall. Virisalā is bath house. There is six parts of Pabbata-Vihāra.


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Jantāghara

This is Versatile as a service building. Archeologists face a problem. Some talk it is porn. Some talk it is bath and other talk it is kitchen. The architectural form is simple but the activity is complete.

There are evidences in Mahāvaṃsa, Mahinda-Thera predicted that Jantāghara porn will be established north of the palace. According to Senakavadānāyaka, this is a place hot booth. Sanskrit courses say that it is a place of staff in the booth. During the Buddha’s time, there had been a place called Aggisālā. Jantāghāra is a place like that.

According to Vinaya, monks go to the Jantāghāra to have hot and cold bath. The sudent monks should provide hot or cold water to the preceptors. According to this wish, the student should prepare knob, chunk moisten place and take chair to the bath rooms.

According to Vinaya Cūḷa-vagga, there is a place for bethel bath. It has a fire place. The faces are covered with clay before taken a bath, the chabbaggiya monks heated fire wood. And close the door and monks were faith Buddha warned them to stop acting in that manner. This Jantāghāra had been advice Wise Jīvaka as a center of health.

According to Rhys Devī, this is in Indian enfluence. It is similar to a bath place in turkey. According to Samanta pāsādikā(Vinayaṭīkā), before a bath, the body should be burned by means of Vaporu. The fire in the Jantāghāra is smokeless. It control diseases that arise as a result of snow fall. According to literally cources Jantāghāra is either bathing in porn to the monks taken bath Aggisālā or a health center. According to architecture, the plan is very simple. The shape is Retangular. The concepts of a fire place and water is the places at Vijayārāma. There is Jantāghara.

In the center, there are stones slabs. For the rectangular bath, it is large bath shallow. In this place there had been charcoal. Indicating a fire place, there is also a great pass the base matter (that is at Vijayārāma). At Paṇkuliya, there is a Jantāghāra which is elevating finish close to the Jantāghāra is a Tressing room. At Abhayagiri, there Jantāghāra is sunk below the floorable. The water is


very well painted with stones. At Sigiriya, there had been storage underground. Suppose to be a bath house.

At Arankale, there is a heat where water had been boiled. There is also stones use for grinded. It shows that medicinal powder had been prepare Jantāghāra is constructed to retain heat and vapor.

The Picture of the Jantāghāra is not clear. Still excavations are not done preliminary. Therefore, it is difficult come to conclusion about the nature of this place. According to Professor Chandra Wikrmagamage, Jantāghāra is aggisālā.

Sigiriya

Sigiriya is in the middle of Sri Lanka. It is surrounded mountains, parks, and villages. It is a place of natural protection. This place had been appreciated by architect poets and an engineer. This is a victorious base of King. Since it exhibits created ability. The storage of walls and problems are within Royal family.

Historical background

King Dhātusena had two sons. The elder was Moggallana and the youngest was Kassapa who were from local second wife. Kassapa was very anchors obtain the Kingdom. Therefore, he kills his father and became King. Moggalāna who was the heir to the throne went to India. Since Kassapa was afraid that his brother would came back to attack him. He wonders to high in a six places because of this he make Sigiriya to protect this place. However, after 12 years Moggalāna came back. There was fight between the two brothers. When the wars start, Kassapa steps back because there was a muddy place. His army thought that their king is skating back give up war all of them run away. Kassapa was all alone. He could not do anything. Then he committed suicide.

7.10.2009- Wednesday-3:00-4:00

At first, it was surrounded by huge. On the south, there was a village called Mapalagama. On the east, there was a protected in for tress. The King’s mansion was on the top of the mountain. Therefore, by nature Sigiriya was a place of great protection. Internal Rampart it was make of stones and brick. Herein, there connected with huge stones at the entrance, there are steps which


are very polish through this entrance one can enter the king’s mansion. The great stair case- it indicates the skill of architect at end of stair case there is the mirror wall. This mirror wall gives protection to king’s residences. The feet of Lions- the name Sigiriya arise as the result to of feet of the Lion. It meets Sīha+Pāda going through feet entering mouth stair case will follow the visitor to King palace.

King’s palace

The place on the top is very beautiful. It has many parts. One part leases to a beautiful garden. Another part leases to a pond entering the place going from room to room. One can go to the very top. There is the seat of the King which is called throne. This is supposed to be the heart of Sigiriya. This is very large palace points out the skill of the architect. It is difficult to imagine how men power was used to transport brick, sand, etc to the top.

Parks

Under the shadow of the huge rock, there are beautiful ponds. These ponds are constructed according to methodological devise. The water in these ponds and trees are flowing beautifully making bubbles at the same time. The Sigiriya is environment with gardens and parks. It second only to the parks of ancient Rome.

There is also consisting of artificial ponds with beautiful fountains. Sigiriya exhibits in excellence technology of controlling water. There is a good grained. These technical methods are of two types: 1) Mathematical like China and Japan. 2) Natural method. In this manner, we observe that Sigiriya is full of natural beauty and excellence construction. The moats ramparts were for the protection. The architecture was a nature of rocks and bricks.

Sigiriya frescoes’-

At Sigiriya, there are pictures of beautiful women painting. These paintings show that at the time. There had been very skill architects. There are women who are going alone and also women going in group. The most common is two women going together. The faces of women indicate happiness. There are young women as well as elder women. At first, the architects had brought the


figure with a red colour lions. The figures are three dimensional. It means human figure. The background is very simple with red colour clouds. Some women are transparent blocks or.

They are carried flowers in their hands. They wear bangles and necklaces. And also they look similar. There are slight differences from one to another. The head is also decked well. The earrings are very long. We observe that there are four women wearing rings in their hands. They had kept spots in the middle of the forehead. And they wear colour ponds. As result of their beauty scholars had expressed various views.

Views of Scholars-

1) - According to H.C.P. Bell, they are queens and their servants. The women show only the above wastes because there is no room to draw the full figures.

2) - According to Havel, he says they are drawn as goddesses of Deva world because of the flowers he thought heavenly ladies.

3) – According to Martin Winkrama Single, he says they are women of here and going to the river to bath.

4) – According to Nandadeva Wijesekara, he says they are lamenting for the separation of the King.

5) – According to Parana Vithana, he says they are Vijja-latha (lightning) and Megha-latha( rain clouds).

In script ion, it is said that Kassapa states here like Kuvera. There are very reason interpretations of these women. Sigiriya is a beautiful place and when a person goes to the top of mountain. He can see the Sun setting. Star appearing. The sky is taking a beautiful shape. Therefore, the artists imagine this is beautiful as women. They wanted to say that there are five hundred heavenly women because to make the people think about doing Kusala. People who want to go to the Sigiriya were so over joy while the painting and they wrote impressions on the Mirror wall.

This is the end of the third term.

All dhamma friends,

The M.E 23= Buddhist Art and Architecture- II (Sri Lanka) subject I had done and selected by all lecturer by Dr. Mrs. M.P. M. Peiris for you all in year 2009.

Wish you success in all,

With metta,

From, Ashin Nandavaṃsa (I. T. B. M. U)

27. 10. 2009- Tuesday

Then, this is from “The Inscription of Siri Dhamma Asoka”

“May the Dhamma last as long as

My sons and grandsons and the

sun And the moon will be, and

may the people follow the path

of the Dhamma, for if one

follows the path, happiness

in this and in the other world

will be attained”.

(Ciraṃ Tiṭṭhatu Lokasmiṃ Sammā Saṃbuddhasāsanaṃ”

Ashin Nandavaṃsa (I. T. B. M. U)

Makutarama Myanmar Temple,

No-284 Demategoda Road,

Colombo-09, Sri Lanka

2009

ME 39- Logical Reasoning-

Kelaniya University

Lectured by Prof. G. D. Sumanapala

Recorded by Osadhalankara

2009

ME. 06- Origins of Mahayana and Earliest Mahayana Sutras

Kelaniya University

Lectured by Mr. Senerath Weijesundara

Recorded by Jatila (Shan)

2009

ME. 02- Theravada Abhidhamma: Origins & Development

Kelaniya University

Lectured by Prof. G. D. Sumanapala

Recorded by Dhammavamsa

2009

ME. 23- Buddhist Art and Architecture in Sri Lanka (II)

Kelaniya University

Lectured by Dr. Mrs. M. P. Peiris

Recorded by Ashin Nandavamsa

(I. T. B. M. U)

WunDwin, Mandalay, Myanmar

2009

ME. 01-Buddhist Doctrines and Pali Nikayas:

Analysis and Interpretation

Kelaniya University

Lectured By Prof. D. G. Sumanapala

Recorded by Ashin Vayama

2009

ME. 21- Buddhist Aesthetic Concepts:

Analysis and Evaluation

Kelaniya University

Lectured by Prof. D. G. Sumanapala

Recorded by Ashin Uttamaramsi

2009

ME. 39- Source Studies

Kelaniya University

Lectured by Prof. D. G. Sumanapala

Recorded by Ashin Indobasa

2009

ME. 39- Research Methodology

Kelaniya University

Lectured by Dr. D. D. Senadheera

Recorded by Adiccalankara

Bodhisatta images

Avalokiteshvara‐

In Sri Lanka, with regard to the images we had found. We can divide these images into sections. Yogi Avalokiteshvara Raja Kumara Avalokiteshvara Yogi Avalokiteshvara‐

This image is an imitation of the picture of Siva. According to Professor Dohanian, Sri Lanka got these images during the Pallava period.

In Sri Lanka, we have seated and standing images of this type. In the Colombo museum, there is a standing image of this type. The posture is Samabhanga (straight). The right hand has Abhaya mudra. The left hand has Kataka mudra. The dress is a type of Dhotiya, the Hindu type. The body is covered by a narrow strip of cloth. The hair is called the jatamakuta. On the top is lotus. There is a string of purple, hanging from the head. The hair is also falling on to the shoulders on the Jatakamakuta, there is the Dhayani buddha sculpture. This type of image of a standing yogi Avalokiteshvara can be seen at Buduruwagala.

There are seated Yogi Avalokiteshvara statues. One of these statues can be seen at Veheragala. This image exhibits the method of Maharajalilasana. One leg is kept down. Behind the left thigh, the left hand is Kataka mudra. Since the body is slanted. The weight of the body is on the hand. On his right hand, there is Kataka mudra. Since the body is slanted, we can see some lines on the body. From the upper part of the body there is a thin strip of cloth. On the head, there is the Chatamakuta.

Raja Kumara Avalokiteshvara

In Sri Lanka, there are Raja Kumara images. They are full dressed. From Tiriyaya, a bronze statue was found. Left hand is Kataka mudra. The posture is Samabhanga. Right hand is Vitarka Mudra. Head is KaramaMakuta. Ear is Makara Kundala. The neck is a necklace. The hands are bangle. Across the body there is the Yannopavita. This is called Patmapani Avalokiteshvara.

Khasarpana Avalokiteshvara

He is a symbol of great sympathy. In his hands, there is a pot of ambrosia, which is a heavenly drink. Near him, there is a peta with his mouth open. This type of image was found at Nalanda Girige. It is a place of Hindu influence. The body is Samabhanga. In the left hand there is a lotus. Right hand is the Varada mudra.

This is the end of Second Term.

All the best wishes for you!

ME.6-Origin of Mahayana and Earliest Mahayana Suttas

(1)-Tri-Kaya(Three bodies of the Buddha)

(a)-Nirmana kaya-apparition body

(b)-Sambhoga kaya-the enjoyment body

(c)-Dhamma kaya-the dharma body (truth body)

These three bodies serve the purpose of elevating the position of the Buddha.

(a)Nirmana kaya

According to the description, we learn that the buddha as described in Theravada tradition is the person who had to face difficulties in life as ordinary people do. As an ascetic who will becoming the Buddha, he suffered a lot. Even when he was the Buddha there were certain occasions that he had great difficulties. Those who came out with the idea of Tri-kaya thought the Buddha, being such a high person, cannot suffer. So they interpreted there was a created body, Nirmana-kaya, facing such problems. So they explain the suffering of the Buddha in that way.

(b)-Sambhoga-kaya

The Buddha had very devoted and rich followers who gave away much enjoyment by providing good food, good places to stay. We know rich and devoted followers like Anathapindhika and visakha must have provided with every thing the Buddha needed. This type of happiness the Buddha was got interpreted as the experience of the Sambhoga-kaya, the Enjoyment-body.

(c)-Dharma-kaya

This refers to the teaching og the Buddha. It remains forever without any change. Buddha came to know the truth of dharma when he gained Enlightenment. So dharma-kaya is ever-lasting and valid for all the time. This concept has somewhat influened even the theravadins. When they venerate the dharma, they do it in that sense.

(2)-Bodhicitta (the mind of Enlightenment)-

The concept of Bodhicitta is important for all schools of Buddhism. There are three schools: Theravada, Mahayana, and Tantra. This is important because without having the thought of Enlightenment, no one would try to reach or find it. In the beginning a person may not have this thought, but at the crucial moment the person would get it. Our present buddha Gotama, according to his life history, for the first time got the thought of Enlightenmet at the feet of Dipankara Buddha, and wished to become a Buddha one day. Then the Dipankara Buddha examined his character and predicted that he would become a Buddha, Gotama by name. so while passing through Samsara, he tried to complete what was necessary for the attainment of Enlightenment. So, according to Mahayana, he had to complete the ten perfections (Dasa-paramita) and pass through the ten stages of Boddhisattva Bhumi. Therefore, before the attainment of Buddha-hood he was practicing ten perfections and passed

through ten stages together. Therefore, in other schools of Buddhism they pay attention to this though they may not mention this by name.

Pancāvāsa

Pancāvāsa is a term explaining a group of five monasteries. They are belonging to the non-systematic group of Monasteries. Mahāvihāra, Abhayagiriya, Jetavanārāma areas have many pañcāvāsa Monasteries. However, although they spress out in a non-systematic pattern. All of them have their entrances inacertain ofder. In the Middle, there is a Rectangular Monastery. On the fourth side, there are square shapes of monasteries. The square shapes of monasteries are facing the Middle Rectangular monastery. The main Vihāra in the center faces the Cetiya.

When Mahinda Thera came to Sri Lanka, the King was Devānaṃpiyatissa. Mahinda Thera accepted the offer of Mahāmegha. And also explain to the King where future building will be established. Those places were supposted to be touched by earlier Buddhas. He pointed out where the Cetiya will be built, where the Arm Hall will be built, where the Bodhi tree will be planted and so on.

In the book Mahābodhivaṃsa, and Saddharmālankāra, it is said that there is a certain plan of the building of Mahāvihāra, fourth buildings are having a similarity to a posture of a Lion. It is called Simhavikrānata. The simhavikrānta lay out depicts that posture assumed by an imaginary Lion looking back which is head turn from the right. King Devānaṃpiyatissa accepting the advising of Mahāmahinda Thera taking three refuges and constructing Mahāvihāra, at the MahāMegha thus make a simharikrānta lay out.

At the tip of the tail at the Sri mahābodhi ghara, near the right foot is the Lovāmahapāya. The Sannipātasālā is near the left foot. Ransimālaka is near the left side of belly (stomach). Near the right hand, the bhattasāla is near the left hand Ruvanveliseya. Near the neck, kanṭhaka Cetiya. The Paṭimāghara is near the chest of the Lion sitting of the release position looking back by turingin from right by toughing on the grown.

According to above description, from the prehistoric courses and learned courses, we understanding that Monasteries were gathered in Anurādhapūra. According to archeological courses, out of these monasteries units we can come to three types of conclusion. (1) Resendential building. (2) Ritual building. (3) Ecclesiastical building.

Out of the Resendential buildings, the most difficult building is not systematic monastic a group of Mahāvihāra, Abhayagiri, and Jetavana is the Pancāvāsa. It is cluster of four large square cells or dwellings symmetrically. There is placed around a

larger Retangular structure or Pasāda in the center. There are various views about this architectural plan. At the early state, some scholars give the name Pañcāyatana. But it is proved that Pañcāyatana is the more suitable wall. The followings are the views of various scholars: the archeological have given their concept of pañcāvāsa, burrows, his speech of a central vihāra and four chapells. They are a caster of five detach buildings which are religious buildings. Parana Vitane the central pāsāda is a temple. Although there is known evidence to show that all the buildings has Buddha images. There were Buddha images in all of the principle pāsāda. Prematilake, he says all five are Buddhist shrines. The main one is in the center. Others are seprated from it. Senaka bandaranayake he says they are residential buildings. But he views the term parimena and said pañcāyatana parimena. H.C. p. Bell, he uses the term pañcāyatana. But this term does not occur in Sri Lanka sources. There is known usage of Buddhist as Pañcāyatana. Hindus have five Devales called Panca mukha lingam of Siva S.B. hettiarchin Kulatunga they said this unite is a pañcākāvāsa. Therefore, today we have accepted that this monastic plan of five buildings can be considered as Pañcāvāsa.

Two Truths

Sammuti and Paramattha

To understand, the gradual evolution of the two truths that came to in latter period as two truths, we have to refer to early Buddhist discourses.

(i)- (a)-Early Buddhist references: It is we who know Abhidhamma as we know Pāḷi Cannon Transit of three sections Sutta Piṭaka, Vinaya Piṭaka and Abhidhamma Piṭaka. Among them, the Abhidhamma Piṭaka consists of seventexts which are the results of peocess of abstraction, classification and analysis. They are (a) Dhammasangaṇī, (b) Vibhanga, (c) Dhātukathā, (d) Yamaka, (e) Paṭṭhāna, (f) Puggalapaññatti, and (g) Kathāvathu.

(b)- Neyyattha Sutra and sutra and Nītattha Sutra

There are some discourses that we should add ideas by ourselves to understand the meaning. If we understand as they are, we misunderstand it because it includes some person, place, history etc. We have to express them. There are some discourses that we should not

Pañcāvāsa

2.9.2009-Wednesday 3:-4:

Pañcāvāsa is a term explaining a group of five monasteries. They are belonging to the non-systematic group of Monasteries. Mahāvihāra, Abhayagiriya, Jetavanārāma areas have many pañcāvāsa Monasteries. However although they stressed out in a non-systematic pattern, all of them have their entrances uncertain order. In the Middle, there is a Rectangular monastery. On the fourth side, there are square shapes of monasteries. The square shapes of monasteries are facing the Middle Rectangular monastery. The main Vihāra in the center faces the Cetiya.

When Mohinda thera came to Sri Lanka, the King was Devānaṃpiyatissa. Mahinda thera accepted the offering of Mahāmegha. And also explain to the King. Where future building will be established, those places were supported to be touched by earlier Buddhas. He pointed out where the cetiya will be built, where the Arm Hall will be built, where the Bodhi tree will be planted and so on.

In the book Mahābodhivaṃ, Saddharmālankāra, it is said that there is a certain plan of the building of Mahāvihāra, fourth buildings are having a similarity to a posture of a Lion. It is called Simhavikrānta. The simhavikānta lay out depicts that posture assumed by at imaginary lion looking back which is head turn from the right. King Devānaṃpiyatissa accepting the advising of mahāmahinda thera taking three refuges and constructing mahāvihāra, at the Mahāmegha thus make a simharikrānta lay out.

At the tip of the tail is the Sri Mahābodhi ghara, near the right foot is the lovāmahapāya. The Sannipāta sālā is near the left foot. Ransimālaka is near the left side of belly (stomach). Near the right hand is the bhattasāla, near the left hand is Ruvanveliseya. Near the neck is kanṭhaka Cetiya. The Paṭimāghara is near the chest of the lion sitting of the release position looking back by turning from right by touching on the grown.

According to above description, from the rehistoric courses and learned courses, we understanding that Monasteries were gathered in Anurādhapūra. According to archeological courses, out of these monasteries units we can come to three types of conclusion. 1. Residential building. 2. Ritual building. 3. Ecclesiastical building.

Out of the Residential buildings, the most difficult building is not systematic and monastic a group of Mahāvihāra, Abhayagiri, Jetavana is the pancāvāsa. It is cluster group of four large square cells or dwellings symmetrically. There is placed around a larger Retangular structure or pasāda in the center. There are various views about this architectural plan. At the early state, some scholars give the name Pañcāyatana. But it is proved that Pañcāvāsa is the more suitable word.

The followings are the views of various scholars: the archeologic have given their concept of pañcāvāsa, burrows, his speech of a central vihāra and four chapels. Scimitars they they are a classter of five detach buildings which are religious buildings. Parana Vitane the central pāsāda is a temple. Although there is known evidence to show that all the buildings has Buddha images. There were Buddha images in all of the principle pāsāda.

Prematilake, he says all five are Buddhist shrines. The main one is in the center. Others are separated from it. Senaka bankaranayake he says they are residential buildings. But he views the term parimena and said pañcāyatana pārimena. H.C .p. bell, he uses the term pañcāyatana. But this term does not occur in Sri Lanka sources. There is known usage of Buddhist as Pañcāyatana. Hindus have five Devils called Pañca mukha lingan of Siva S. B. hettiarchin Kulatunga they said this unite is a pañcākāvāsa. Therefore, today we have accepted that this monastic plan of five buildings can be considered as Pañcāvāsa.

9.9.2009-Wednesday 3:-4:

The development of Pancāvāsa can be seen as follow: at the beginning, there was only single Āsāsa. There after it became two. After that it became three buildings. The group of three buildings can be seen at the Mirisaveti complex. Finally, there arose five buildings surrounded by a wall. The term Pancāvāsa means panca+ āvāsa- Meaning five āvāsas. The term pancācāsa is different from the term pancāmahā āvāsa. There are five Mahāāvāsas. They are: 1. Mahāvihāra, 2. Thūpārāma, 3. Mirisapati, 4. Vessagiri, and 5. Mihinkale. These pancamahā āvāsas have their own vidual buildings, residential buildings and ecclesiastical buildings. The Pancāvāsa is a Micro unite within the micro unite namely: Pancāmahā āvāsa. There are five independence Monasteries. The term Pancāvāsa is used in Pāḷi and Sanskrit languages. It indicate a common knowledge both in Theravāda and Mahāyāna Traditions. There are literary and

architectural evidences regarding pancāvāsa. The term pancāvāsa occurs twice in the first part of Mahāvaṃsa, both these referances are found in the 36 chapters. The first reference in the Mahāvaṃsa is as follows:

“Kappukāgāma vāsissa

Devatherassa Santike

Dhammaṃ sutvā patikammaṃ

Pancavāse akārayi”.

The King had got the sermon delivered by Devathera cause Patikammā in the Pancāvāsa. According to this word Pancāvāsa is a Monastic unite of the Sangha. In this word the pancāvāsa is in the Monastic of Devathera of Kakukāgāma. These types of Pancāvāsa groups are seen in the Mahā-vihāra, Abhayagiri-vihāra and Jetavana-vihāra. King Jethatissa had erated the Pācinnatissa pabbata-vihāra and bestowed to the Sangha of Pancāvāsa. In this Manner, the Pancāvāsa became a famous monastic unite in Anurādhāpura.

The Pancāvāsa groups are the most difficult monastic building in the non-systematic major type in the Mahā-vihāra, Abhayagiri and Jetavana. It is a cluster of four large square cells all dwellings systematically placed around a larger rectangular pāsāva in the center. At first, thses five buildings may have not existence at one place. Later these five got arrange as a separate unite. The chief monk is supported to have taken in the middle rectangular pasāda.

Some scholars called the square Pāsādas but since there are paved spaces. They can be considered as storied building. Therefore, the square āvāsas can be called Pāsāda and not kuṭis.

The Pancāvāsa images are very develop in Architectural features. In entrance, two Pancāvāsa is much elaborated. There are moonstones and guardstones and Valustrades. The purpose of the Pancāvāsa is given in text books. The Mahāvaṃsa and Dīpavaṃsa record about the usage of the Pancāvāsa unite the stands are already giving mentioning the ward Patikamma. It means the treatment of sick monk. The Dīpavaṃsa also mention that the King having heard the Gilanasutta of Devathera offer medicine to these five buildings.

16.9.2009-Wednesday 3:-4:

Mahāvaṃsa is also an Agreement with this idea. Achaelogical evidence also confers this will. There are jantāgharas near the Pancāvāsa. This covered from Anuradhapūra. There are stores for rinding medicines. This Jantāgharas were for the benefit of six. There is also evidence of these buildings in Literature. In this manner, pancāvāsa monastery has gantāghāra also. There is a Pancāvāsa in Abhayagiri vihāra where we can see more than one Pancāvāsa in one monastery. This is different from the others. The extra Pancāvāsa have been constructed to six monks because the six monks cannot go together. There have been images installed within the monastery. Those who wanted treatment stay in the extra Pancāvāsa. As conclusion, the term Pancāvāsa is used to denote:

1. Independent five monasteries of Sangha.

2. A unite of five buildings.

Pabbata Vihāras

Pabbata-vihāra was situated away from the Anurādhapūra town during the period of seven and ten century A. D. There arose as systematic monastic type. Few kilometers away from half of Anurādhapūra town, Pabbta vihāras are left an existent compare to the Major monastery of Anurādhapūra but they are well systematic in their plans. When situated in high elevation they can be capitalizing as follows: 1. Toluvila and Pacinatissa pabbata. 2. Puliyankulama.

3. Pankuliya. 4. Vijayārāma. 5. Vessagiriya. 6. Kaludiyapokuna.

7. Ruhunumahāvihāra.

The buildings situated in the sacred Quadrangle are as follows: (a) is the sacred building. The patimāghāra is (B). It is the most Dominating building in the entire complex became there is the Buddha image. The Buddha image is in the center. There are enough roofs for the worshippers to Circumambulate the statue. The Bodhighara is (c). It has a square plan and four entrances. The Botree is planted in the center of the square which is a bit elevated place

because there is no roof the tree spreads itself well. There is also apart for circumambulation. There is also a flight step leading to the tree for the purpose wandering there. The stupa is (d). It is having a distinct characteristic because of the height of stupa is less than 15 feet. There are four flowers altars facing the four entrances.

The Uposathaghara is (e). This situated further from middle or main building because it is used for the monks for bear ecclesiastical acts.

AShin Nandavaṃsa

On 24.9.2009-Thursday, this will take on to sit the exam subject which is research questions and answers.

Q.1. What is definition of research?

Research means the systematic investigation into the study of materials, sources etc. in order to establish facts and reach new conclusions or an endeavour to discover new or collate old facts etc. by the scientific study of a subject or by a course of critical investigation.

Q.2. The questions should be asked are

(a) What I am going to do?

(b) Why I going to do it?

(c) How I going to do it?

(d) When I going to do it?

Q.3. Two basic means of knowledge and difference between them?

There are two basic means to gain knowledge. They are experience and reasoning. But gaining experience is an uncontrolled and haphazard activity and reasoning can operate in abstract world, divorced from reality.

Q.4. The features of a research problem?

There are a number of features of a research peoblem. They are as follows:

a. It should be of great interest to us. b. The problem should be significant. c. It should be delineated. d. We should be able to obtain the information required. e. We should be draw conclusions related to the problem. f. We should be able to state the problem clearly and concisely.

Q.5. What is the differences between the two sources primary sources and secondary sources?

Primary source is the Pāḷi canon and secondary secondary source is the other translation books for Buddhist study.

For example: Primary Sources: Majjhimanikāya, Ed.v. tranckner and R. Chalmers. 3 vols. London: The Pāḷi Text Society, 1948-1951.

Secondary Sources: Harman, A. L, “A Solution to the Paradox of Desire in Buddhism”. Philosophy East and West vol. 29, 1979.

Jayatilake, K. N., Early Buddhist Theory of Knowledge, London: George Allen& Unwin. 1963.

Q. 6. About the synopsis (question 1)

Synopsis means the programs of research, the research proposal, action plan.

Q.7. Significances of literature review.

Literature review means the previous studies done by other scholars about the topic selected by him to know what other had already found about this subject.

Q.8. The benefits of note taking?

Note taking is to help to remember something, to keep at permanent record something, to help in planning, to recorder material, to help to understand what is learning, to help to concentrate and to show other people for their benefit.

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