Symbol of the Buddha’s birth

Blooming lotus flowers, buds and pods, together with other flowers and fruits in the vase of prosperity, symbolize the birth of the Buddha. The water in the vase represents the Dhamma, while the blossoming of the lotus cluster represents the joyfulness and virtue of the Buddha’s birth. This vase, referred to as ‘Purna Kalasa,’ can be found in Thai paintings.

This is the first of 28 slides,. Their numbers correspond to the numbers appearing on labels adjacent to actual carvings at BIA, 24 of which are inside the courtyard and four others outside.

Combined, these carvings help us learn about the life of the Buddha, which was filled with purity, wisdom, and loving compassion. They also reflect the ability of people in the early days of Buddhism to understand and focus on the true meaning of Dhamma rather than material objects such as Buddha statues.

In the realm of Tusita Heaven, devas, or divine beings, gather round the Bodhisattva, who is represented by an empty dais under the Bodhi tree, to invoke his reincarnation into the womb of Queen Sri Mahamaya. She is reclining in a meditative posture with devas tending to her by her side. As the sign of his coming reincarnation, the Bodhisattva appears in the Queen’s dream as a white elephant.

They come to welcome the newborn prince to the city of Kapilavastu.

In a royal procession consisting of elephants, horses, chariots, and rejoicing troops, the king sets out to Lumbini Park to welcome his new-born prince and return together to the city of Kapilavastu. Musicians march ahead, and flags are decorated with triratna symbol— the mark of the Triple Gem, the most sacred reminder to all Buddhists. The chariot is shaded by a royal canopy and decorated by a garland. Images of people’s houses, roofs, walls, city gates, forests, people, soldiers, as well as devas, can be seen in this sculpture which serves as an important archaeological find dated 2,000 years ago.

Welcomed at birth with four triratna, four srivatsa, and eight blossoming lotuses.

The large lotus in the middle is the symbol of the Buddha’s birth. It has sixteen petals equal to the sixteen stages of Anapanasati, or the meditation practice with the focus on mindfulness of breathing. The sixteen stages of Anapanasati are divided into four tetrads of teachings called Satipatthana, or the four foundations of mindfulness—awareness of the body, feelings, mind, and mental phenomena. Satipatthana provides practice guidance from basic to advanced levels with the highest goal of Nibbana, or Enlightenment.

The outer circle comprises different symbols which are four triratna symbols, four srivatsa symbols and eight blossoming lotuses. Triratna, or the mark of the lotus blossoming in a circle with three flames above, represents the Triple Gem. Srivatsa, or the mark shaped like a fan with five tips, symbolizes the qualities of the noblest human being. The numbers 4 and 8 represent the central teachings of Buddhism—the Four Noble Truths and the Noble Eightfold Path respectively.

The Queen’s dream prophesies Prince Siddhattha’s greatness.

This sculpture consists of four connected parts. It starts with Queen Sri Mahamaya asleep and having a dream in the top right corner, and then four Brahmins make predictions from the queen’s dream in the top left corner. All of them show two fingers, foretelling that the prince would later become either the world’s greatest emperor or the Enlightened One.

The lower right corner depicts the Queen giving birth while holding a branch of the sal tree. Here, four devas are holding neatly folded cloth to receive the infant prince Siddhattha, who is represented by the two tiny footprints on the cloth. In the lower left corner, the baby prince, symbolized by the footprints under the royal canopy, is presented to a tutelary yaksha (a non-human being who guards a forest or city), who appears and pays homage to the prince.

He experiences hardship and misery for the first time.

Prince Siddhattha in his youth ventures out into the city in his chariot. The royal canopy with a garland above an empty chariot represents the young prince. As he travels through the city streets, he witnesses aging, sickness, and death for the first time and reflects on the miseries veiled from him in his sheltered, happy palace life. He also encounters an ascetic and contemplates true happiness and suffering. This experience leads him to embrace a life of asceticism.

Assisted by devas, he leaves the city gates for the Great Renunciation and his horse is led back to the city.

The Great Renunciation of Prince Siddhattha is depicted in a series of images starting from the left, where devas, or celestial beings, are carrying his horse, and a servant is carrying the royal canopy. In the middle, the royal canopy placed over the empty horseback represents Prince Siddhattha.

On the right side, upon the journey’s end, the horse is being lowered. Then, by the Anoma River, the royal canopy shades two footprints, which represent Prince Siddhattha after the Great Renunciation. The same horse, no longer being carried by devas, heads back to the city with Channa, the Prince’s servant.

Prince Siddhattha leaves the palace.

Leaving behind the comforts and luxuries of palace life, Prince Siddhattha sets out to live as an ascetic with four devas, or celestial beings, leading the way. The four devas represent the gods of the four directions. The empty seat on horseback, for which a man is holding the royal canopy, represents Prince Siddhattha.

Prince Siddhattha is accompanied by rejoicing devas and nagas.

The empty horseback under the royal canopy represents Prince Siddhattha, while four devas, or celestial beings, are supporting the horse’s feet. One special feature of this sculpture is that there are two dancing naga (serpent-headed) figures; one in front and one behind the horse. The dance posture of nagas is commonly found in this period of Amaravati art and is now part of the traditional Thai long drum dance.

Various devas pay homage.

Prince Siddhattha’s hair, cut on the day he decided to leave the worldly life, is taken to the celestial realm. The devas or celestial beings exhibit a variety of graceful bodily movements, each with his own unique form. Owing to its intricacy and fine detail, this sculpture is highly praised for its magnificence even in today’s Western art circles.

Various poses of Sujata offers fine milk rice to Prince Siddhattha.

This carving shows different stages of Sujata offering alms of milk rice, starting from approaching Prince Siddhattha, making the offering, paying homage, and leaving. The swastika mark at the base of the Bodhi Tree represents the Prince in a sitting position under this tree by the Niranjana River. The milk rice is rice cooked with milk and sweetened with honey—a true vegetarian meal, suitable for an offering.

Demons and seductive women surround the Bodhi Throne.

Mara, the power of evil and temptation, is personified as fierce demons, seductive women, and wicked spirits surrounding Prince Siddhattha's meditation seat at the base of the Bodhi Tree, also called the 'Bodhi Throne'. The swastika symbol above the cushion represents Prince Siddhattha sitting in meditation, finding a way to attain Enlightenment by the bank of the Niranjana River in Uruvela, Bodhgaya.

Despite all the disturbances obstructing his meditation, the prince has resolved not to move from his seat until he attains full Enlightenment no matter what it takes, even if his flesh and blood were to dry up and his body shrivelled to skin and bones.

The Bodhi Tree is adorned with jewel garlands; devas and people celebrating.

Worshippers pay homage to the Buddha after his Enlightenment. The empty throne and triratna symbol (lotus blossoming in a circle with three flames above) represent Prince Siddhattha sitting at the base of the Bodhi Tree. The branches are adorned with jewel garlands and devas are celebrating the Buddha’s Enlightenment—insight into the cause of suffering and the cessation of suffering, also known as Paticcasamuppada, or Dependent Origination.

Devas gather at the Isipatana Deer Park.

At the Isipatana Deer Park, devas, or celestial beings, gather amongst the deer to hear the Buddha’s first sermon, Dhammacakkappavattanasutta. The empty throne represents the Buddha, while Dhammacakka, or the Wheel of Truth, represents the teaching he delivers on this day: the Four Noble Truths, consisting of Dukha—suffering, Samudaya—the cause of suffering, Nirodha— the cessation of suffering, and Magga—the Noble Eightfold Path or the Middle Path, which leads to the cessation of suffering.

Fire worshippers become disciples of the Buddha.

After his Enlightenment, the Buddha sets out to teach. He goes to a large ascetic group residing at the bank of the Niranjana River. It is led by three brothers who are Jatilas, or fire worshippers. The three brothers and their 1,000 followers all become disciples of the Buddha after hearing his teaching.

The Buddha teaches devas, people and ascetics.

Devas, people and ascetics gather around the empty throne, paying homage to the Buddha and listening to his Dhamma teachings. On the seat of the throne lies a cushion with a swastika. Behind the throne is a pillar surrounded with flames, with a triratna symbol (lotus blossoming in a circle with three flames above) at the top. All these symbols represent the Buddha.

Yasodhara brings Son Rahula to seek the throne; the Buddha ordains him as the first novice monk.

When the Buddha visits his relations in the city of Kapilavastu, his former wife Princess Yasodhara presents to him their son Prince Rahula, to formally request the throne. Instead, the Buddha offers Rahula the greatest treasure of all—noble treasure—by offering to ordain him.

King Suddhodana, the Buddha’s father, is greatly grieved, as there would be no one to inherit the throne. He then pleads with the Buddha that whoever wishes to be ordained should first seek permission from their parents. Thus starts this regulation. Nevertheless, Prince Rahula becomes the first samanera, or novice monk.

The Buddha is represented by various symbols: the throne with a swastika symbol on the cushion, the footprints below the throne, and the flaming pillar with a triratna symbol (lotus blossoming in a circle with three flames above) at the top.

The Buddha pacifies a dangerous drunken elephant.

Devadatta, a cousin and wicked disciple of the Buddha, misleads King Ajatasatru of the city of Rajagaha and makes him want to harm and kill the Buddha. At Devadatta’s instigation, the King has the elephant Nalagiri made drunk and violent, then sets loose Nalagiri in the Buddha’s direction during his alms round in the city streets.

The Buddha, however, wins over the elephant with his loving compassion. The elephant stops attacking people and lies down peacefully before the Buddha, represented in the sculpture by footprints and a flaming pillar with a triratna symbol (lotus blossoming in a circle with three flames above) on top. The event is depicted in a series of images, starting from a rampaging Nalagiri on the left, to the pacified elephant before the Buddha on the right.

The violent murderer Angulimala is transformed by the Buddha’s teachings.

This carving displays subsequent movements of Angulimala, the son of a court advisor of King Pasenadi of Kosala. been tricked by his teacher, a prominent guru of Taxila, to kill one thousand people and collect a finger from each body in order to be eligible to study the ‘supreme knowledge'.

In this sculpture, Angulimala is depicted with a garland of fingers around his neck, madly attacking villagers and attempting to chase down the Buddha. Once he hears the Buddha’s teachings, however, he becomes truly remorseful. He puts down his sword and prostrates himself before the Buddha, who is represented by footprints and a flaming pillar topped with a triratna symbol (lotus blossoming in a circle with three flames above).

Anathapindika spreads gold coins on Prince Jeta’s land to purchase It.

The sculpture depicts Anathapindika, the millionaire and the chief lay disciple of the Buddha, having his servants spread gold coins on Prince Jeta’s land in the city of Savatthi. Anathapindika is determined to buy the prince’s land to build a monastery as an offering to the Buddha for an upcoming rains-retreat, but Prince Jeta refuses to sell by telling Anathapindika he would have to cover the whole park with gold coins in order to buy it.

When Anathapindika covers almost the whole piece of land with his gold, Prince Jeta realizes how much the millionaire wants the park, and gives in. Prince Jeta decides to donate the gatehouse area as his contribution to the Buddha and requests to have the monastery named ‘Jetavana’ in memory of himself. People commonly refer to it as ‘Jetavana Monastery built by Anathapindika the Millionaire.’

The king’s procession moves to Grdhrakuta Hill

King Bimbisara of Magadha leads a procession to pay a visit to the Buddha, who is dwelling at the top of Grdhrakuta Hill.

The sculpture depicts different stages of the King’s journey: he starts out on elephant back and horseback inside the city gates, then once outside the city gates he travels in a horse-drawn chariot, and finally continues on foot to reach the Buddha atop the hill.

King Bimbisara then pays his respects to the Buddha when arriving and walks clockwise around the Buddha to show great reverence upon leaving. The dais at the top left corner represents the Buddha. The wavy pattern under the dais represents the hill.

After blessing his late mother, the Buddha descends amidst worshippers.

After teaching Dhamma to his late mother at the realm of Tavatimsa Heaven during the Buddhist rains-retreat, the Buddha returns to the human realm on the Retreat-Ending Day.

Devas, or celestial beings, and humans rejoice and celebrate the return. The God Indra has created jewel stairs for the Buddha, who is represented by footprints. Gold and silver stairs on the left and right of the jewel stairs have been created for the God Brahma and the heavenly beings.

The stairs descend from Mount Meru to the gates of the city of Sankassa. Thus originates the tradition of giving alms to monks at the end of the rains-retreat, as it celebrates the day of the Buddha’s return from the celestial realm.

The Buddha attains Parinibbana; devas and people gather to pay their respects.

At the city of Kusinara, the Buddha reaches Parinibbana—the Great Decease or complete release from samsara, the round of rebirth. The stupa shaped like an upside-down alms bowl represents the Buddha in the reclining posture of Parinibbana.

At the base of the stupa, worshippers gather to pay their last respects to the Buddha. The worshipper in the center looking up is thought to be leading the ceremony, while the others may be relatives or servants, some clasping their hands together in a praying position and some making offerings. In the lowest row musicians are playing various instruments.

Worshippers come to Kusinara from afar to pay their respects.

The stupa shaped like an upside-down alms bowl represents the Buddha in the reclining posture of Parinibbana—the Great Decease or complete release from samsara, the round of rebirth. Groups of monks as well as laypeople have travelled from afar to the city of Kusinara to pay their last respects.

On the left, there are a monk and two men, while on the right there are two monks and three women. One woman is reaching for a garland from her servant to pay homage to the Buddha. Below the stupa are women making garland offerings and paying their respects. Five cows are brought in as an offering. The two men at the bottom are musicians.

Kusinara will share the Buddha’s relics.

At the center of the stone sculpture lies the fortress of the Mallas’ kingdom, which is surrounded by armies from various kingdoms. Several kings have come to force the King of Mallas to divide up the relics of the Buddha.

The lower half shows approaching armies ready for battle. On the fortress amidst the armies stands the Brahmin Doha, whose successful arbitration averts a clash of arms. He divides the relics of the Buddha among all the kings.

The upper half shows the armies with their portions of the relics in urns placed on elephant heads underneath their royal canopies. These armies march back to their lands, each with a flag decorated with a triratna symbol (lotus blossoming in a circle with three flames above), which marks their refuge in the Triple Gem.

A King on elephant back carefully holds an urn of relics.

Depicted her is a king carrying the relics of the Buddha back to his land. Travelling with an army of elephants and horses, he is carefully holding the urn of relics above the head of his elephant.

On the right, a cavalier on horseback is carrying a ceremonial baton used to invite gandharvas (heavenly beings with superb musical skills) to join the procession. Above the cavalier is a winged deva celebrating along. The sculpture is framed with curtains and decorated with lotuses and hanging garlands, similar to the ones hung from the baton above the horse.

King of Koliyas brings back relics; the queen faints with delight and then makes garland offerings in different postures.

There are four contiguous scenes. In the center, the male figure with many nagas (deities in the form of a great serpent) on his head is believed to be the King of the Koliyan clan of Ramagama, one of the kings who received a share of the Buddha’s relics. The urn of relics is placed on the throne before him.

To the right of the throne stands the queen with a naga on her head. She is so delighted that she faints and has to hold onto the person next to her for support. On the left of the throne, after gaining consciousness, the queen receives a garland from her servants to pay homage to the Buddha’s relics. The lower part depicts various postures of paying homage in Indian style, including wiping the ground with one’s hair.

The king arrives on elephant back with his entourage.

King Ashoka the Great travels with a procession of elephants and horses to worship at the Holy Bodhi Tree in Bodhgaya. descending from his elephant’s hind leg, the king walks with his queen into the Mahabodhi compound, where the Holy Bodhi Tree is adorned with flower garlands and surrounded by a carved stone stupa.

On the other side is a procession of offerings including pots, lotuses, and flags displaying the triratna symbol (lotus blossoming in a circle with three flames above, representing the Triple Gem). Various kinds of musical instruments are being played.