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China (Dunhung, 7th AD) Bagan (Thatkyamuni, 13th AD)
} Concept of Nivana} Chinese Depiction during Han and Tang Dynasty} Nivana Depiction in Bagan} Perception of Nivana} Mural} Tablet} Rock Art} Comparison between Tang China and Bagan
} Nivana means “absolute termination”. Therefore, nivana can notes that Lord Buddha reaches the absolute termination, by virtue of the nature of nivana, without any remainder of Kamaja Rūpa. (U Tun Myint, 1968, p. 138)
} Nivana is the term generally considered as the moment when Buddha passed away and escaped the suffering of the cyclic incarnation. Meanwhile, it also involves with “Beyond- Sorrow”. (Ziyi, 2016, p.1)
} As a society deeply rooted in Confucianism and Daoism, the arrival of Buddhism is a great challenge to China. The idea of nivana, meaning ending the cycles of birth and rebirth, in Buddhism is new in China and a radical departure for Chinese philosophy. (Lee 2010, p. 12)
} For Chinese there are three levels of Universes or Realms or Worlds and they are human world, celestial world and netherworld or underworld. (Keith 1996, P. 41) People have to go around in that circle. Therefore, the concept of Nirvana, referring to the cessation of this process, is new and radical in Chinese philosophy.
} The beginning of the iconic depiction of Nirvana is the Gandhara period based on Hellenistic style. The stone panel which would have been set into the top of a stupa, shows the Buddha surrounded by monks and laymen expressing either sorrow or calm. It contains two parts: the Buddha lying on his right side and a group of laymen and monastic mourners surrounding him in various states of grief.
} Although Chinese who values the personal identity and family are generally reluctant to depict or make narratives of the death scene and regard it unpleasant and inauspicious, the Chinese artists created a good variety of nirvana images in reliquary box, stone carvings, wall paintings, bronze miniature shines, steles as well as nirvana caves (sculptures), based on the Gandharaprototype. (Ziyi, 2016, p. 3)
} How the Buddhism iconography came to the area.
} Although there is lack of archaeological evidence, it was probably through the maritime route.
} It is also possible that the local craftsmen were inspired by other mediums of materials came from the central Asia.
} Kushan style of Nirvana images appears a few centuries later and it certainly came from the on land silk road.
} The earliest representation or prototype of nirvana concept could be found in stone images in Kongwangshan, Lianyungang, Jiangsu. Whether the reclining images of Buddha represent the nirvana is still debated; it tends to shed its primordial tie to the life story of Sakyamuni Buddha. (Lee 2010, p. 19)
} The early Chinese depiction of nirvana begins in the Northern Zhou (557-581) and they are murals. They belong to the first phase of development of narrative art of Dunhaung.
} It shows not much expression of narrative detail or emotional content of the scene. It seems to present the doctrine of impermanence and non-attachment as the disciples of the Buddha, both monks and Malla princes, watching the proceeding according to their level of spiritual achievement.
} Those who had achieved higher level of understanding show no emotion. There is no mourning figure in front of the couch like the later presentations. It expresses the emotion of monks in front by only a tilt of the head or wringing of the head.
} TheMala princes standing in a now behind are also undifferentiated. Absent of detail expression highlights the early stage of Buddhist iconography in China and here the interest is not placed on the narration of events but it on the divine nature of Buddha. (Katezkey 2000, p. 102)
} The changes in artistic and religious aspects of the nirvana in China during the 6th century can be seen on stone stele at Art Institute of Chicago. That stone stele was dated 551 CE and relief sculpture.
} According to Lee, the nirvana image on the Chicago stele in many ways is defined by the extraordinary juxtaposition of the reclining Buddha with the coffin. (Lee 2010, p. 55) The scenes of the stele are quite different.
} In the left frame, the focus is coffin and a lot of emotion and desperate feelings can be seen. Four long hair figures express their sadness by beating their chests while two monks kneel at both ends of coffin and touching it.
} In the right frame, however, the seven monk figures standing behind the reclining Buddha are in more composure detached countenance.
} The only figures who show sorrow any form of emotion are the two laymen kneeling to touch the head and their feet of the Buddha. The different of those expression bases on their understanding of the nirvana of the Buddha.
} From this scene we can trace people depiction of the nirvana of Buddha in 6th century China.
} The two contrasting modes of response toward the coffin and the nirvana Buddha were a significant inversion of an established iconographic tradition in China in which the reclining Buddha rather than the coffin was the main subject of affection and emotional outpours.
} A significant development in description of nirvana in murals at Mogao is the introduction of new characters, particularly Maya, the mother of the Buddha. It can be found in mural painting at Cave 280 of Sui caves, probably dated at late 6th century to early 7th century.
} In the mural, a female figure dressed in queenly attire sit near the head of the Buddha and an elderly monk stands at the other end, paying homage to the exposed feet.
} This gives the viewers an interpretation that they are Queen Maya and Buddha’s disciple, Kathapa. (Katezkey 2000, p. 103, Lee 2010, pp. 98-99)
} It is during this period that colossal sculpture of the dying Buddha appears. In murals, the absorption of native stylistic elements is most apparent.
} The emphasis is on the drama of events, story-telling techniques, and a new awareness of setting. (Karetzky 2000, p. 103) A combination of sculpture and painting media is utilized.
} Colossal stucco of reclining Buddha takes up most of the wall surface of the enormous cave at Dunhuang. Behind it hundreds of mourners, members of many different nations and raced are painted. Each is clearly differentiated and extreme grief is depicted. (Karetzky 2000, p. 104).
} The interpretation of the Buddha’s attainment of nirvana in China had gone through many stages.
} Though the earlier interpretation of images were influenced by the Indian and Central Asia, Chinese people adapted and adopted it as their own believe and perception.
} In fact, the meaning of nirvana was not very familiar to Chinese as their belief in secularism especially ancestor worship and concept of life after death.
} Moreover, the scene of death was eschewed not only in China but also in Asia in those days.
} So, when the term nirvana came to China, they perceived it in their own way and reflected in the images of nirvana of Buddha.
} The depictions of nirvana had two things: vision and belief. (Lee 2010, p. 206) All nirvana themes of Chinese depiction were created according to the level of understanding of various religions during this period.
} At first, they were just an interpretation of an event of the death of the Buddha, and later the theme was changed to express the superhuman ability of the Buddha, and, finally, the death of Buddha is not the end but it is the beginning of the new era; the coming of future Buddha Maitreya.
} In contrast to the history of Chinese depiction of nivana, there are not many evidences of nivanascenes in early Bagan. Most of nivana depiction in murals and art works of Bagan are as earliest as 11th century.
} However, there were a lot of votive tablets with nivana scences could be found since Pyu pariod.
} According to Aye Aye Oo, there are only 40 pagodas with nivana mural painting though there are 440 pagodas with murals. That represents only 10% of the total. (Aye Aye Oo, 2013, p. 35)
} The mural paintings related to Buddhist life are normally lent keeping place of Buddha, his sermons, twenty-eight former Buddhas , paintings of Universe and cosmic inclusions.
} Most favorite scenes are, Eight Scenes of Buddha’s life and scenes of Jataka stories.
} 1. Buddha’s Paranibbana Scene was depicted at the space above the Buddha’s image
} 2. This Scene was also depicted in the interior wall of Gandhakuti chamber together with the other Buddhism related paintings
} 3. The Scene of Buddha’s Paranibbana was depicted at the upper part of the entrance archway of Gandhakuti chamber.
} 4. Some facts and matter of Buddha’s Paranibbana Scene were described as ink glosses in some painting compartment. (Aye Aye Oo2013, p. 2)
} Votive tablets of Pyu and Bagan Period could be regarded as an earliest evidence related to Buddha’s nivana.
} There are sketches or inscriptions at the base or on the frame of it.
} The inscriptions differs from each other, some for the secular needs and prayed for attaining nirvana in order to be liberated from Samsara or cycle of births and re-births.
Pyu Votive Tablet Handwriting in back
} A prayer inscribed in hand-writing in Pyulanguage on the back of a Pyu votive tablet related to Nirvana is also found.
} The Archaeology Department noted that this votive tablet had been found in the damaged repository of holy objects underneath ShweSandaw Pagoda donated by King Anawrahta.
} The inscription says:this image of Lord Buddha is crafted and donated by Sañ byan Sri Banãno and, the donor prays for Nirvana by virtue of the merit gained by this donation when Future Buddha Arimyitteya attain his enlightenment. (U Mya, 1961, part I, p. 24)
Bagan Votive Tablet Nagari Script at the base of Votive Tablet
} According to translations, it was made by King Anawratha himself and he intended to get the chance to worship the future Buddha, Arimittiya before he enter the nivana. (U Mya1961, part I., pp.10-11)
Pyu (East Zay) Bagan (Shwesandaw)
Nine scences at ShuhutPagoda
Eight scences at Pagoda, north of Upali Thein
} Normally, there is a Buddha statue surrounded by eight scenes of Buddha life with the nivana scene at the top.
} For example: South Wall of LawkahtikepanPagoda (12th Century AD)
} A fine wall painting of Buddha’s nivana scene could be seen on the left side of the side archway inside the Thatkyamuni Temple, northeast of Nyaung Oo and was built in 13th
Century AD.
From Tatkyamuni Pagoda Ink Gloss
} This wall painting contains the scene of Buddha’s nivana which measures 1’5” in length and 1’ in width (or height).
} At the bottom of this painting was the inscription about people and gods venerating Buddha. The ink glosses says:-
} “When Buddha succumbed to Prinivana at the Garden of Sal Tree of Malla Dynasty, various kings and gods came to venerate Buddha. (Aye Aye Oo, 2013, p. 15)
} Another wall painting about Buddha’s nivanascene can be seen on the wall of the side archway on the northern side of the inner prayer hall of Winedo Temple, 13th century AD.
} Its prayer hall faces east. The painting measures 1’6” in length and 8” in width (height). At the bottom of the nivana scene, there is also an ink glosses about the scene. The inscription says:-
} “At the kingdom named Kusinayo, in the sala tree garden of Mala Dynasty, on the full moon day of Kason, Buddha Neravan”. (Aye Aye Oo 2013, p. 17)
} At Bagan Archaeological Museum, a thin bronze plate bearing in relief the nivana scene could be found. It was originally discovered at Thayam bu temple (12th Century AD)
} This plate bronze reliefs measures 1feet in length and 5 inch in breadth.
} Buddha is seen lying on a couch while keeping his head to the north.
} At the top of the couch are an image of Sakka and that of Brahma with four faces. At the bottom of the couch are the God Vishnu and his four handed consort.
} On the top belt above the couch are two grieving male celestial beings revering Buddha.
} At the base of the couch, two disciples are seen sitting while their palms are put together at the level of their bosoms apparently worshipping Buddha in the Buddhist style.
} Myinkaba Gupyauknge Temple which is situated north of Myinkaba village and was built in 12th
century AD.} Buddha's nivana scene is measured by 4' 2" in length
and 2' 5" in height. } It depicts that Buddha is lying on his side between the
two Sāla (Inngyin) trees keeping his head to the north, his right hand is folded, with his unfolded palm showing in front of his face, his left hand is straightened out with His palm placed on the thigh.
} His left foot is placed on the right one and both the feet are straightened out in an even fashion.
} At the top and the bottom of the Buddha image is paying worship by his two disciples.
} Nivana is the most important part in Buddhism.
} But, there are difference interpretations based on understanding of it.
} For Chinese, it is not only the end but also question marks, what next after Nivana, where did Buddha go?
} Finally, they link the Nivana of Buddha with the coming of future Buddha, Ayimitiya.
} So, it is not the end but the beginning of new era.
} For Bagan, it is final, end of suffering (as there will not be reborn)
} Most wanted thing for a being Buddhist (even pray for secular well beings)
} However, in early stage, the depictions are very simple, Buddha Statue surrounded by either eight or nine scenes of Buddha’s life.
} Later especially in 13th Century AD, filled more dramatic scences (probably, more Buddha texts arrived after the conquest of Thathon.)
} But still maintaining the fact, that is the “end.”
} So, it is contrast with the Chinese perception of the beginning of new era.
} The main reason, I suppose is that it is based on which schools they follow, Mahayana or Hinayana.
